However, I seek to express the truth through a series of lies, i.e. representational painting and its conventions. These are representations of artifice. All the elements of the images: the costuming, the props, the actions, as well as the formal aspects, are constructed around the idea of performance, but the performances never happened.

           I paint from a combination of photographs and direct observation. These photographs do not function as documentation of any “real” performances. Instead they are the records of the stillness of a single pose continuosly repeated by the model for the duration of a sitting. This is the actual “performance,” something much closer to a reverse “tableaux vivant” or a fashion shoot. The paintings are meant to deceive by simulating a moment within a series of actions.

           The installation of the artifacts of the performances, the sculptures, and the images are basically three-dimensional paintings (with the exception of “Circuit”). The viewer is forced into a focused awareness of his body in relation to the paintings. The objects and sculptures extend each performance into real space, which is separate, but still related to the illusionary space of the painting. They extend the ideas behind each painting.

           These pieces are loud, lush, and ironic. To a certain extent, I expect the audience to be overwhelmed with everything once it is experienced. They will pick up on the mental triggers expressed throughout every aspect of these pieces, and try to understand the people in the portraits. It is all very cryptic and layered, but the language being used in extremely overt.