Earlier this year I began experimenting with non-brush painting. I began using industrial syringes and turkey basters to apply paint to canvas tacked directly to walls. I was intrigued by the notion of skin color, not as a departure into racial identity, but skin as a physical substance that has color. Using my own skin tone as the architecture for this body of work, I became obsessed with the wide disparity of tone and hue I was able to draw out of my skin. At various points of the day through changing light conditions, I examined how these changes took place over various states of being and created those tones from a base hue. From the concept of skin, my work began to consider the larger role of the body, and how the skin is, in fact, not just the outside of the body, but the body itself.
My current project is the survey of the body as a physical substance with physical properties such as color, elasticity, texture, and the ability to heal. The world leaves a physical impression on the body, as does the body on the physical world. The project also considers the body as a vehicle that moves through time and space. This vehicle has a corporeal identity that exists only in-the-world, and has relationships with other beings that share this position. The final and perhaps most ambitious task of this project is to discover and experience the ways in which the body exists as a metaphorical bridge between Subject and Object. The body can be seen as serving paradoxical roles in this platform. Following after the german word Aufhebung, first introduced to me in Hegelʻs Phenomenology of Spirit, a word that has no direct translation and is meant to describe a function that preserves, negates, and elevates simultaneously. For me, the body serves this same sophisticated role as filter, aperture, and barrier between Subject and Object.