You Like Blue?, 2021. Flashe paint. 30 × 22 in.
Paint the Town, 2021. Flashe paint. 30 × 22 in.
Nirvana, 2021. Flashe paint. 18.5 × 24 in.

Repetition is one of the main driving forces behind my paintings. Metaphorically speaking, my paintings are similar to a tree in which ideas and shapes continuously branch off, produce diverse visual themes, and manipulate compositional rules. Organic, abstract shapes facilitate this system of repetition across multiple works, as their size, orientation, and placement are spontaneous and adaptable. The shapes’ fluid nature and behavior yield countless possibilities to explore color relationships and visual illusions. To me, the practicality of my shapes is obvious: each one influences and interacts with the ones that follow. The repeated system of shapes grants me the liberty to focus on the interdependent nature of my decisions, in which each formal choice is a force for visual change. This freedom eliminates the detrimental labeling of mistakes, and instead the open-endedness of viewer interpretation flourishes.

Conversely, understanding the personal or symbolic attachment to my shapes has been less evident. Rather than being driven by emotion, my paintings operate off of my instincts regarding spatial composition. As such, I rely on repetition to become my strongest ally in further pushing abstraction in miniscule or grand gestures. I emphasize and alter positive and negative space through the interactive shapes. The overlapping sections of the shapes also become exciting opportunities for change. Varying materials and color pairings can uniquely emphasize these areas of spatial design. Personally, I find a lot of comfort and ease in monochromatic palettes and complementary color pairings. These limited palettes allow me to explore the range of shades that an individual color can encompass. As the scope of color choices narrows, I begin to rely on complex tonal differences and coloristic illusions to continue themes of abstraction.