My work investigates the anachronistic variance that occurs in traditionally accepted and cinematically enhanced social domains. By exploring primordial states of downtime and sexuality, I reconstruct the familial and romantic rituals of humans and animals alike. This kind of examination reflects my interest in the physical distortion that has occurred naturally and that which can be further mutated by the human hand and its unstable science. My artwork bridges the uncertainties related to utopian ideals and the dystopian qualm by challenging the societal standards of beauty and the sublime. In turn, the context of my work offers a certain kind of "normality" to the visually absurd and misunderstood figure.
As I build, paint, or otherwise create the figure I stretch its physical boundaries without actually breaking them. This synergy is very important for me because it allows for the humanity to come through in these creatures. My distorted mirror gives me the ability to ask difficult and unwanted questions with compassion and respect. This concept has always been centric for me; growing up near Three Mile Island and having a severely disabled brother has given me the gift of finding joy, beauty, and most importantly, humor, even inside the darkest scenarios. This work is not about my brother, rather its relationship exists through my absurd upbringing and my experience with human oddity and mental diversity. I have existed happily and find great comfort in the presence of the societally off-beat. My aesthetic, even as a small child, reflected a delight in physical and situational distortion. It is sincere and inveterately where I come from.
My ongoing research merges my personal experience with the study of human life with focus on contrasts in behavior through circumstantial spaces. The various mediums I choose are important in expressing moments of ever-variant personalities and their mélange of companions: creature, material, vice, etc.