I am interested in the constant flux of the visual world. Through common distortions of light, shadow, and atmosphere, the familiar becomes abstracted and unfamiliar. Thus, for a fleeting moment the mundane transforms into the sublime. My work explores how these phenomena affect my own sense of perception and physical location through a material-driven painting process. Using reductive abstraction, I synthesize the transient elements of my surroundings into multilayered compositions. In the paintings, these elements allude to ever-shifting landscapes:

My conviction rests on a plane of artistic good sense one moment, and teeters on the threshold of nonsense the next. My aim is to reconcile this conflict as little as possible.

By combining scraps of wood, fabric, and other found materials, I construct abstract paintings that have a rough-around-the-edges quality. I embrace the inherent imperfections of my reclaimed materials to emphasize the works’ off-kilter geometries and irregular symmetries. Though modest in scale, the painted constructions occupy a space beyond their physical dimensions. I play with architecture to create unconventional installations that require the viewer to actively look in order to discover them. Through both my intuitive creative process and the viewer’s

My drawings and drawing installations are founded on my explorations of the city. Often working outside or in my car, I read the landscape for found fragments of language, and, with ink and other water media on paper, I record the poetics of built structures and the communities they frame and contain. I often piece together fragments in a cumulative manner, not unlike the way the urban landscape is collectively authored over time. In my most recent works on paper and panel, structures and detritus from the physical landscape become a metaphorical framework

My recent works are oil paintings on sewn canvas panels and unsewn canvases on which a hybridization takes place through the implementation of three-dimensional objects that are either sewn on or attached with adhesive, threads, and paint, along with organic materials such as eggshells and holy water. I combine seed beads, faux grass, and 24-karat gold leaf, as well as oil on wooden extensions of the canvas. The work shows elements of ritual and tradition.

“Donald Martiny’s bold pieces drew my attention for their unique visual impact, which owes partly to their scale, but also to their daring focus on a single pigment. Martiny’s work is pure; it is painting at its most elemental, composed of a single medium, a single gesture, a single colour. Martiny sits in a line of tradition from Malevich to Rodchenko through Newman and Stella. But, this is paint and painting laid bare, off the canvas, and uncomplicated by storyline, personality, politics or even historical context. In Martiny’s hands, paint becomes structural. As such, his work

Katrina Andry’s work explores the negative effects of stereotypes on the lives of minorities, and how these stereotypes give rise to biased laws and ideologies in the Western world. Her largescale prints—some as high as five feet—confront the viewer with these derogatory cultural clichés. The prints feature figures in watermelon/black face. They represent those who are targeted by racist characterizations. However, Andry specifically uses nonminority figures in this role to illustrate the fact that stereotypes are unjustly perpetuated. Stereotypes are based neither on truth

My painting practice lately seems to address the notion of theatricality in an art production operation, but is ultimately one facet of a larger, general practice. While the images always rely on the tool of representation (often of the mass-produced objects/ephemera that have woven themselves into the most intimate moments that might now constitute a personal history), the varying levels of commitment to depiction (or the sometimes stacked layers of imagery) nod toward a sense of self that frequently wavers.

My paintings resist the urge to sit still. Appearing direct and haptic, solid and precarious, compressed and energetic, my work exists at the meeting point of painting and idiosyncratic form, proposing questions of perception and categorization. A seemingly straightforward formal abstraction may also appear to be a letterform, a window, and ultimately a physical object that has a unique relationship to the space it occupies and the objects that surround it.