my practice in summary
my practical inspiration comes from being one of a family history of painters over many generations, yet my individual practice is often associated with being deceptively positive, given the perceived intimidating and disruptive qualities of the work’s visceral surfaces and subject matters.
artists of interest for me range from classical painters such as il sodoma and Caravaggio, to contemporary multi-media practitioners such as otto muehl and roger ballen. these multi-generational/media influences become ever more apparent in my work when considering the classical framing of my figures compared to their more modern animalistic and non-idealistic attitudes, along with their heavily painted anti-art and pro-libertarian expressionist references against traditional painting disciplines.
all my works follow the same structure as statement pieces that are easily presented and portable by design but can also act as testaments to the visual venting to which I subjugate them when I use them as forms of social/personal commentary when resolved.
as a social outcast looking deeper, i always make work about the world and its innate insecurities and issues regarding identity and ideology.
my work is always created out of an underlining necessity for art to spark conversations that outwardly speak of my own fascinations with creating positive representation for alternative attitudes/cultures, especially within the realm of public intervention with my ideology as an outspoken satanist.