I like to view my work not so much as deliberate motivated action, but rather the natural consequence of my presence in the world.
My genre can be most closely compared to early 20th century surrealism, in that the landscapes and inhabitants of consciousness figure prominently as themes and also as guiding forces that shape my style. Unlike the surrealists, I avoid Freudian ideology for the most part, and do not view the ‘unconscious mind” as a useful concept.
Instead, my work is a means of establishing a personal vocabulary for experiences and feelings too particular, nuanced, or uncommon to have equivalent components in language. This personal glyphic milieu is made up of varied organic and biomorphic figures, entities, and worlds. The imagery may be vaguely associated with factual reality, but is more accurately classified as a visual representation of my reactions to reality, and my meta-reactions to those reactions.
I mean to bring to my work the disconcerting impossibility of knowing definitively if other people actually exist, and if they feel like me.