Documented here, is my show at Epping Gallery at Mchenry County College.

The show was installed by the curator at MCC, a week after I dropped the work off.

I had to strap the biggest painting to the roof of my car and drive it 50 miles at 80 MPH. It made the trip safely.

I stopped by MCC on my way to Minnesota this weekend and a super-synchronicity occurred. I thought it would be cool if there were people viewing my work when I went in to see it, because then I could document the event. It is always super interesting to see what people think of my work.

I went outside after taking some photos, but realized I should probably use the rest room before embarking on a 5 hour road trip.

I went back inside and there was a class touring the work!

I crept up behind them and began filming them. They were talking about my work i did with Saatchi art on their NFT project.

They turned around to see a suspicious man filming them. That man was me. The teacher recognized me and I gave an impromptu artist talk to the class. It was very fun.

artist statement OUT OF THE BLUES

Out of the Blues
The phenomenon of super-synchronistic surprise is crucial in resolving a compositional dilemma. I try to push the limits of a 2-d picture plane with flat patterns, shapes, and hard edge masking techniques. A theme explored in my work is that of suppressed of information, and how that relates to the human condition.
I think of my paintings as capsules of stored information, referencing topological maps and computer circuitry.
The willingness to pay attention and participate in the magic of everyday life, is what inspires me. A surrender to what is not known, with an openness to all possibilities.
The creative process mirrors human life, in the way that the journey is the destination. I will sometimes have a plan for a painting, but am always open to the variable of complete change, as that seems to be the most reliable constant, in the universe. I prefer to view myself as a medium transmitting art into this realm, from a higher informational realm, of a subconscious nature.
The titles in my work are not crucial, but function in the way one would name their farm animals, as more of a verbal identifier, and are conceived of as playfully as the paint that was used to form them.
When viewing my work, my hope is that the distilled attempts to resolve the composition, come through to the viewer in a way that offers an interesting perspective, shedding light on mainstream constructs.