I was born in 1981 in Webster Springs, West Virginia where my parents were living as farmers as part of the “back to the land” movement. I grew up in Pensacola, Florida. Now I live in Brooklyn. I spent most of the past two decades making music. Now I make paintings. There is no particular reason why.
For titles, sizes, et cetera et cetera:
About My Paintings:
Most of my paintings are titled for the date described in the scene as rendered in the French Republican Calendar. In the 1790’s the Republican Calendar was invented (and briefly adopted officially) as a way to re-order the dates and months of the year in a decimal-based system exalting nature. This calendar was designed to sever dependence on what its creators viewed as a superstitious and illogical view of time.
In the following centuries theoretical physics has also been intermittently unveiling its own revision of time. In 1905, Einstein published a letter predicting that a clock would run slightly slower on the floor than one on a table nearby, a result that has been confirmed again and again in experiments using extremely precise atomic clocks that were not invented until the second half of the 20th century. These results prove that, because of gravity, time passes differently at different locations in the universe.
As it happens, my studio is in the basement where time passes slightly slower than in my apartment upstairs. The difference is very slight indeed, only a few nanoseconds (there are as many nanoseconds in one second as there are normal seconds in 31 years) yet that difference (which is gravity itself) finds its way into my paintings of people and photons and clouds of indeterminacy. How could it not?
I paint the things I do in order to ask the same questions as the theoretical physics I allude to above: Where does the difference between the past and future come from? What is the nature of matter? In what ways are the things in the world actually events? How is truth made from observation?