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My work has evolved from a long desire to tell stories.  These stories become reflections of my perceptions, transforming the world around me into a series of bright visual hieroglyphs.  Acting as both social commentary and contemporary fable, the result is, more often than not, a series of sardonic observations of the world I see, dealing predominately with social rites of passage and the conflicts and challenges of surviving in today’s world.  Filtered through the twin lenses of imagination and memory, my work, like much art, seeks to act as a barometer of the cultural/social concerns, issues, mores, values, priorities and struggles which I see as pertinent to the society around me.

    As a visual society, our very thoughts, needs, desires, beliefs and opinions are often forged by the visual stimulus fed to us through a variety of media and sources: from politics and propaganda, to religion and moral rhetoric, to fashion and Madison Avenue advertising.  My work seeks to follow in the vein of these predecessors, as a satirical mimicry of both the visual style as well as the hyperbolic rhetoric meant to stir up the emotions and zealousness of the populace.  Advertising imagery and political posters serve as significant influences, particularly in how they so often define our self-identities, social and cultural identities,  as well as our decision making process.  They tell us who we should be, what we should want, and how we should live: and therefore the power of this sort of imagery becomes quite intriguing.   Also stylistically influenced by comic books, slick glossy color advertisements, movie posters and other forms of pop culture mass media, my images are presented in a manner which is as much a part of this hegemonic American pop culture as it is a comment upon it.

The relationship between art and its social/cultural/historical surroundings is an important symbiosis, because art is not created in a vacuum; it is both a result and a reflection of the society which creates it, influenced as much by historical and political events as artistic creativity and experimentation.  It is a barometer of cultural values, mores, priorities and struggles.  It  provides both social insight as well as cathartic release. Would Dadaism have been what it was without World War I and the onset of cultural “Modernity”?  Or think about the interconnection between Pop Art and the cultural/social shifts of the 1960s, the explosion of television and the mass media, and the general interest in the vernacular.  Or what about how the invention of photography as a technology affected the future of painting?  Everything that is made, be it consciously or otherwise, is a by-product of its surroundings ...