When I first began studying and playing jazz, I was fascinated by the proximity of elegance and roughness; the fragility of harmonic dissonance, the strength of deceptive cadence and improvisational freedom from repetition. Jazz seems to find a beauty within honesty. I could see a reflection of myself within these paradoxical forms: questioning whether beauty lies in the saturation or the suppression of reality.
I approach and arrange my paintings like I would a jazz composition, beginning the process with a framework: drawing and painting text and figurative imagery, which I then distort to the point where only fragments of the original image are visible, just as a jazz musician distorts a given melody and chord progression to the point in which only fragments of the original composition are recognizable.
Painting on surfaces such as windows and mirrors serves to interpret the simultaneous desire to both escape and face oneself. The fractured view of the self that occurs on these surfaces reflects a visual and material metaphor for the contradictory and cyclical processes of concealing and revealing the self through psychological strategies of suppression, disintegration, erosion and resistance.