Working primarily in drawing, painting, and collage, I investigate the ideological implications of labour and the perpetuity of the hand in art making. Building on the respective heritages of process and conceptual art, I experiment with strictly determined formulas and work with repetitive, prearranged methodologies. The temporality of perception remains at the heart of my oeuvre: though my studio decisions can be summed up in simple terms, deciphering their material properties typically requires dedicated looking.
Using historical precedence as a filter for scrutinizing the contemporary, I cull images, motifs, and sensibilities from the past and re-contextualize them as my own. This practice can take the form of collaging, copying, or otherwise intervening with found materials. I am invested in the reproducibility of historical works, from the tactile specificity of relief printing to the ubiquity and fraught materiality of the mechanically reproduced. I preoccupy myself with echoing the labour of making, from the systematic inevitability of mass reproduction to the vulnerable inefficiencies of human effort: the dichotomy of the hand and the mechanically reproduced is a recurring theme in my work.
Lately, I have been considering the psychology of “filling-in” as a conceptual starting point. Meditating on the modern phenomena of the pictorial grid in Western art, I am interested in the simultaneity of filling and emptying, of the infinitely repeating pattern and the physically defined boundaries of mark and ground. Through the act of fragmenting and re-contextualizing, my practice takes on a precarious lineage of anxiety and hermetic idealism in art, appealing for a contemporary voice for lingering ideological sensibilities.
I received my BFA with distinction from the University of Victoria in 2012 and my MFA from the University of Guelph in 2016.