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Artist Statement

The author Kurt Vonnegut once said that artists exist to be the “canary in the coalmine.” Although being an artist does not privilege my perspective in any way, I do find myself compelled to discuss many issues of a social and political nature, especially given the noxious atmosphere in these environments at present.
My work as a visual artist is the most immediate and direct venue through which I can express my discontent with our country. Unfortunately work with political or social overtones is often too overt, and thus alienates its own target audience. Such work becomes, in effect, a therapeutic act or rabble-rousing for those already sympathetic to the sentiments expressed. My recent work seeks to diffuse the reluctant mentality of conservative viewers through the use of humor and traditional modes of representation.
On the surface, much of my work is absurd: endearing characters and kitsch combined for dark comic effect. Upon closer scrutiny, these elements and their innate connotations begin to form allegories concerning the poignant issues of our time. The use of toys and fantastic creations references a stage in child development when we first gain a sense of purpose through the metaphorical folly of toys and storybooks. It is through this symbolic play and the disarming qualities of humor and cuteness that I hope to draw viewers in, and to generate empathy with the image. The effectiveness of this practice is documented in the research of developmental psychologist E. H. Erikson and behavioral biologist Konrad Lorenz. Written narratives are also important and employed in my work. Due to this the objects created take on the form or at least the familiar façade of a story book.
Another consideration for my work is the environment in which it is encountered, or as the case may be, discovered. The gallery setting can be an important tool, but I often find that the sentiments expressed in the work require a more subversive context. Due to this I often introduce my work to the public in more unexpected ways, such as leaving altered newspapers or napkin books in public places in order to see how they are received and interacted with. This gives the work a new and different vitality not possible in a gallery. Because of this, these public interactions often become integral parts of the work itself.