Brooklyn, NY
b. 1998

The work I have compiled is developed within theories on abstraction and as a result begin to function as a form of a re constructed system within the protocol of surrealism. My study in art began at the Irwin S. Chanin School of Architecture within the discipline of building, landscape, and questions on the structure of representation within various systems of notation. Surrealism is utilized as a tool to de-configure the systems which surround and exist within an event. Abstraction is developed as a string of data concealing events disguising itself within the structure of notation. Abstraction within art is understood as a simple structure, generally objectified through the artist's attempt to hold notation and ornament hostage and render them mutually exclusive. For me, it is the most complex method of working. It’s genetic make-up is multidisciplinary, it operates within and supports itself through the reconfiguration of thought, and the de construction of consensus.

My work is developed to reconfigure events within newly developed and discovered systems of notating that provide analytical tools for the operation of motion, and the de construction of time within various systems of life. These systems include the movement of flies, the growth patterns of the natural environment (specifically flowers), and the “shape” of wind. Developed is a series of overlapping experiences (at various scales).These discoveries function as a protocol to investigate the discipline of art and the structure of time. My practice is developed within the foundation of the systems within perception, memory, and time. The work is developed within the structure of the objectification of art, memory as a notational device, the “line,” perception as a series of fragments within the structure of the system of “sensory recognition”, ,and the system of the conscious state and the framework within which they operate. It functions between disciplines investigating the structure of the dialogue within the macro and micro scales of these systems. An analysis of colors and a newly formed understanding of the structure of “Biomorphic forms” are discovered as a result of the work produced.

The most recent project “Oulawa,” functions as a tool of analysis within and of the universe. My work questions the objectification of the systems of notation within the natural environment. Questions are developed within theories on the structure of morphism and the various states it operates, including; The operation of abstraction, art as object, theory as object, memory, the de-configuration of time, decoration within notation, and the structures that support these operations through various notational systems. These events are transcribed through fragments within paintings built upon theories of pixels, and the formation of matter. This series of drawings depict the operation of motion within the system of the particle and how it functions within the different states of matter. My drawings are developed within the organism of perception and the way we interpret this system. Drawings are constructed as a result of questions within the structure of the foundation and form of time. Time is de-configured, split and re-introduced in conjunction with the systems of memory, reality, and history.

Abstraction within art has become objectified. Within my practice it operates as a theatre. Memory functions as the event within this structure. The system of abstraction has a dual function, as a result it operates as both a classifiable structure that is built upon the reconfiguration of memory and the consistent force of imagination. Abstraction functions as a system within which change operates as the control factor for the maintenance of the equation itself. I believe in the method of abstraction, it is the only way to analyze an environment. The structure of memory is the system within which I operate. We connect with memories and hold them hostage to live with and through them, they surround us, operating as a support mechanism. My work is developed within the protocol of abstraction that operates as work that reconfigures its position as a historical reference, while introducing alternative methods of de-constructing my environments. The structure of art is objectified and put on display to reveal diverse moments of interactions between “objects” at the micro and macro scale. The structure of art is deconstructed and reconfigured through a series of drawings, paintings, and sculptures in dialogue with one another. My practice continues to evolve within the universal standard of the archive Oulawa.