My artistic practice is rooted in an exploration of ephemeral moments and internal states, filtered through the lens of my Southern United States environment. Informed by my formal training at the Atlanta College of Art (now part of the Savannah College of Art and Design), my work synthesizes observations of the natural world with introspective examinations of fleeting instances, ironic juxtapositions, and the spectrum of human emotion, ranging from melancholic introspection to expressions of anger, hope and despair.
My material engagement is primarily with acrylic media (approximately 60%), complemented by watercolor, pen and pencil (each constituting 10%), and digital mediums (20%). This multi-faceted approach allows for a dynamic interplay between the immediacy of paint application and the precision of drawing and digital manipulation.
Thematic concerns within my oeuvre predominantly feature landscapes (70%), alongside illustrative narratives (20%) and conceptual inquiries (10%). This distribution reflects a sustained interest in the representational potential of landscape to evoke mood and atmosphere, while also engaging with the power of illustration to convey specific ideas and the abstract realm of conceptual art.
My painting methodology draws significant inspiration from the Fauvist and Impressionist movements. Fauvism, representing approximately 50% of my painting style, informs my deliberate use of bold, non-naturalistic color palettes as a means of conveying emotional intensity rather than verisimilitude. This is coupled with a tendency towards simplified forms and expressive, visible brushwork, echoing the dynamic energy characteristic of artists such as Karl Schmidt-Rottluff and Raoul Dufy.
The influence of Impressionism and Neo-Impressionism (approximately 30% of my painting style) is evident in my emphasis on the transient effects of light and color. Techniques such as visible brushwork, a vibrant palette, and a focus on capturing specific atmospheric conditions and fleeting moments are central to this aspect of my practice, aligning with the approaches of artists like Claude Monet and Camille Pissarro. My application of these principles often involves plein air sensibilities, even when working in the studio, aiming to capture the immediacy of a visual experience.
In contrast to my painterly approach, my illustrative work (20% of my overall output) employs a more graphic and stylized aesthetic. This involves defined lines and distinct color fields, reflecting an engagement with Post-Impressionist principles, particularly influences from Japanese Ukiyo-e prints and the tenets of Synthetism (approximately 20% of my illustrative style).
My exploration of Synthetism is predicated on the movement’s emphasis on synthesizing the artist’s subjective feelings, the objective appearance of forms, and purely aesthetic considerations. This conscious departure from Impressionistic naturalism, favoring memory and subjective interpretation, finds resonance in the work of artists such as Paul Gauguin.
The influence of Ukiyo-e (approximately 40% of my illustrative style) is manifest in the utilization of strong outlines, flattened color planes, and decorative elements. This reflects an engagement with the historical impact of Japanese woodblock prints on Western art, with artists like Hasui Kawase serving as points of reference for their evocative use of light and atmosphere within a stylized framework.
In summary, my artistic practice is characterized by a dialogue between expressive color and form in painting and a more graphic, stylized approach in illustration. These seemingly disparate modes are unified by an underlying interest in capturing transient moments, exploring emotional landscapes, and engaging with the rich traditions of modern art while forging a personal visual language informed by my specific cultural and environmental context.