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Statement About Triptych ENDSTATE

End-State (Triptych), 2017, Oils on Wood Panels

     In this piece, I was concerned with producing a painting that was a visual manifestation of memory, integrating an elaborative system of (en/de)coding of visual, auditory, or other details. Intertwining abstract formations, whirring micro-surfaces, and a framework of planes within a two-dimensional space. Through the use of gestural mark making, these sinuous lines accumulate into an immersive experience. The initial process of drawing with foam and then removing it reveals a stenciled recording of its previous station. The now joined panels, translates into a temporal flow and a multilayered complexity free of narrative constraints and explores my own artistic research on the visualization and use of spatial memory and to an extant; muscle memory.

The notion of deconstruction, erasure, layering of paint and the addition of sculptural material; I examine the materiality of painting that coincides with the recording and rendering of these notions; these large-scale cradled boards can be interpreted as spaces that exist between illusion and reality, a kind of visceral in-between space that emphasizes an imagined location enhancing a visual sensory perception.

This painting brings together, the process of painting and my own artistic practice that reveals the dramatic renovation of how human memory and muscle memory perform and through the medium of paint assembles into the bricks and mortar of a mental milieu. 

        The series of paintings I have done, eschews a spectacular, and immersive effect. I explore visualizations and the use of spatial memory, particularly on familiar information, recollections, impressions and remembrances; about one's environment while, focusing on the notion of recalled information about a specific location; and how I remember and am aware of experience during that visit.


I begin the ‘walkthrough’ between the elaborate details of visual, auditory, and emotional elements that are retrieved within that spatial memory. As I subsequently walk my mind through this imagined atmosphere, I try to reconnect floating sections into various paint segments, achieving an overall unified painting. In practice, such process reveals the dramatic renovation human memory performs – My paintings emphasize the way my recollections shift into an imperfect imagination.


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