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Since my creative practice solidified into the conceptual prints that are seen in my two-person exhibition (Being, In Bloom), psychology and esoterica have led the way. Particularly eastern ideas surrounding spirituality and the human condition. And my work seeks to do so through reflective spaces that the viewer can immerse themselves in. But my prints aren’t strictly conceptual. Until recently, my paintings were that of abstract expressionism. Vibrant colors and non-representational marks. I am still very much an abstract painter, but have now introduced representational floral forms. And with Being, In Bloom, I have shifted my focus over to photography instead of leaning entirely on my painting practice. This means I am now looking at abstract photographers over painters. As well as any artists who are mixing media in ways that captivate me. 

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As I had briefly mentioned previously, my work is related to eastern philosophies that have made their way into western society. This introduction of eastern culture has been widely accepted in the west. Advocates for personal balance and more inner growth have opened the minds of many. And practices for spiritual health have been sought after by many. Tools such as meditation are claimed to be extremely profound for its users. And divination tools such as tarot or astrology have seen huge increases in interest. All of this to say, my body of work that focuses on introspective spaces and spiritual overtones, definitely fits the wave of eastern culture hitting western society. I describe this cultural context of my work as esoterica, to keep interpretations open. And when others hear that my work relates to dreams, they often reference the paranormal. Activities such as ghost hunting or reconnecting with deceased family members. Clearly there is a strong sense of the otherworldly present in my work. Dreams appear to be a process that everyone experiences, and nobody denies. Nobody denies them for elucidating the areas of their existence through which they cannot normally access. I would like to push the ideas of the paranormal further in my process, as it could open for many unexpected phenomena. 

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When it comes to my process itself, I don’t have much interest in using the highest grade paints or surfaces. Especially when I know that the content is destined for a digital format. It’s not that my paintings possess an ephemerality either. I tend to stick with acrylic paint for its fast drying time and inexpensiveness. When working automatically, I prefer to avoid interruptions by mixing paints. Acrylic is a very new material so it’s hard to say what the physical paintings will do in the distant future. But they are preserved digitally. A conflict of interests attempting to find a compromise. As a former graphic design student, I will always care for design. And naturally it finds its way into my prints.

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I would describe my painting process as a way to bring forth the characters, objects or shapes from my dreams. They then intersect the automatic, or intuitive mark making, in ways that are evocative of psychological experiences. This is where the painting process usually ends and the photographic begins. Photography supplements the content by mystifying space and introducing floral forms in dreamy ways. This then hyphenated artwork is printed with a thin border to accentuate the likeness of a portal. So, painting is more or less a means to an end in the context of my creative practice. Which flies in the face of each devout painter and even the historical painters that influence me. Creating is more so about interacting with artwork as a window into alternate realities that are as enigmatic as they are enlightening. However, just as a window sits between oneself and the outside world, so do the physicality of paintings. I seek to minimize the boundary between the otherworldly and the observer. A work of art is successful when the viewer can interact with this window by comparing their own experiences with such. Contemplating on one’s own aesthosis and one’s own neglected humanness. When this happens, minds are opened, connections are made, and conversations spark. Though they might be windows into other worlds, they are still very much so mirrors reflecting oneself. As one could imagine, creation might be stifled by days where intuition is hard to hear. These periods of time are made valuable by further developing previously planned ideas. And on days where passion is fiery, deep focus allows for easier access into the flow state. This is where intuition can be retrieved once more. These occasional moments of explosive creativity are the birthplace of new work. I view my work as a safe space for all to derive healing from. All the while, pure emotive states rendezvous with the visual imagery. A kind of harmonization between the viewer’s inner and outer awareness, held in stasis

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In my attempts to channel imagery and tone from my dreams, I am channeling higher consciousness. I believe that hidden imagery, buried in the subconscious, holds truths that are useful for our present and future selves. Similarly, ideas or feelings that arise from a meditative state are also of higher consciousness. Through these modes of channeling, I am finding meaning in my art and hope to continue to uncover them. Perhaps some new ways of seeing can be achieved, in much the same way that I am changing the ways that flowers are seen.

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