My artwork implicates personal and social histories to instigate a public performance of desire.

Taking poetic structure as a model for my recent work, I have reinvigorated my relationship with formalism. This is an active and rascally sort of formalism, one that plays with rules and recognizes power as a shifting thing. This results in a large body of paintings partnered with more specific incursions into architecture and social convention. Often there is also an active public component that reframes the process of making meaning and (re)presenting the self in society. Utilizing diverse languages, the work implicates itself and the viewer in acts of “reading” and legibility across and beyond singularity.

Recent artworks include a reenvisioned handmade flag based on Gilbert Baker’s original rainbow flag, eight-colored before massproduced versions ousted pink (for sexuality) and turquoise (art/ magic) from the line-up; Prime Time, a moving picture with an insistent feminist lens; paintings dealing with shifting frames and Situationist slogans; and an invitational play casting Jean Genet, among other supporting incendiaries.