I have placed great importance on walking. It started as a form of self-help in 2020 and opened the door to what would become my visual language today. I frequent, Bear Cut Reserve, Bill Baggs, and Matheson’s Hammock in South Florida collecting domestic-looking materials such as pieces of wood or cabinets but later grew an attraction to the ephemerality of debris. I lead a life with sensitivity to synchronicities and trust that by following them my practice will unfold. The experiences around my art-making are what drive my call to action—for example, taking a paper wrapping of a bouquet gifted from a friend and using it as a point of transmission. Things that fall into your lap, like the alignment of my studio with the sunset and acting on the opportunity to harness its light to cast shapes on the walls. Or When I was gifted an overhead projector that sat in my closet for a year before becoming a daily tool for drafting and play. The debris act as pillars that hold up the veil of the world I am peering into, Through the gathering debris, projecting their silhouette, and then using that as a point of abstraction it has developed into another interest, the process remains the same except Ive become more sensitive to color and what the paint does naturally. From my previous concentration, I have discovered that using pthalo green and deep crimson red creates a holographic effect that I have come to identify as the veil. It appears in my new paintings as the atmosphere and at chance morphs into fire, branches, animals, or stars. Most of my attention is focused on looking for cues that arise in the work, leaving me feeling as if I am uncovering something rather than creating it.
