My studio practice consists of oil painting and collage. I am fascinated by human history, and what it can mean to mix different photos and artifacts together that would have never otherwise been affiliated with each other. For instance, spending hours painting someone unfamiliar of a different generation, with no apparent relation or historical significance to myself. It becomes only about human connection. My process involves creating collages with National Geographic publications and miscellaneous found photos. I also like to reference examples of scanning electron microscope images -- anonymous portraits, images, and objects that don't have a home -- things which I can give new meaning. Sometimes when the context is removed, unexpected connections start to surface. I aim to capture the feelings of both disorientation and serenity caused by these connections through technical detail paired with mesmerizing, glowing patterns, weaving new stories with juxtaposed moments from the past.
In my piece "Year of the Supermoon" I depict events and "snapshots" from the years 2016 and 1948, which were selected on the basis that they both had record-breaking supermoons. The significance is that the moon was positioned closest to Earth at certain points during these years, and I wanted to explore the connection. I went down the rabbit hole to see if these years shared any similarities, despite being separated by half a century. What I found is that during both years, wild and record-breaking events unfolded. It was a fascinating study, and it was exciting to see how they would come together in one painting.