As a figurative painter, my practice centers itself around the body, along with the perspectives and contexts that accompany it. I had originally been focused on memory as a context for the human form, to situate a figure within an abstract space, distorting and mixing foreground and background. That has now transitioned to the exploration of figure, environment, and memory contextualized by absence. Within my work, I am exploring an overall notion of dependency and impact, like in the case of the portraits of my two grandparents. While nostalgia accompanies them, I am also illustrating a moment where the figure is entrenched within its context, such as in Nana, or the perception of the space as it is interpreted by the figure in the case of Grandpa.
An environment or lack of one functions as another element of the portrait. It gives context to the figure and vice versa. I am interested in the inseparableness of subject and context and the codependency that is exhibited within that. Drawing from that, loss plays a large role in how these interactions function. With the removal of the figure, the environment still maintains the memory of that person, while it can go the other way as well. A subject outside of its normal context or within a breadth of ambiguity will elicit a specific reaction or image, solely based off of appearance and conclusive thinking. It many cases, this is conducive in creating a sense of empathy. At the heart of my work, that is what I am most interested in. By presenting illusive figures, or solid ones, I hope to generate a relationship between the subject and the audience that makes people more aware of their own circumstances.