Constructions of Baltimore

I am deeply inspired by the built environment in which I live and work. Constructions, an ongoing series of photomontages, illustrates this well. For this project, I locate buildings under construction and take multiple shots across their façades, revisiting a site several times over the course of its development. I later re-construct the multiple shots (and shoots) in PhotoShop to create a larger composite image.

CODEX

CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into these historical images. 

Lost Horseshoes (2014)


Over the years I have lugged my camera into state parks in the Virginia, Maryland, and West Virginia mountains. For a long time my eyes have searched this green space for early interlopers from abroad coming into contact with a new world. Unfortunately, my mind sees something different than my eyes, and my eyes see something different than the camera. This new work in my series “Lost Horseshoes” is in part an attempt to fill this gap.

Paper Paintings (2015-16)

For me painting is a way to find a personal center in a place where present, past, and future co-mingle. Painting acts  as a mechanism, to process and meditate on systems and to respond to immediate and far-flung surroundings.  In  "Paper Paintings", newspapers, images from art history books, Xeroxes, digital printouts, receipts, post-it notes, envelopes, printer paper, and memos are the raw materials of his assemblages, which I observe and interpret through oil paint and brush.

Abound (2017-2018)

Ideas of realization, birth, rebirth, and struggle inform the works in this series.

Throughout most of these works, hands search, climb, embrace, push forward, and fall back, both together and separately. They interweave across the picture plane through a space that is hinted at or imagined.

Some of the works use paper as an observed setting. Collected ephemera and detritus such as Bingo cards act as the raw materials of assemblages, which I observe and interpret through oil paint and brush.

Toward a Post-Colonial Greenland from "Kangerlussuaq: Cold War, Warming Climate"

My first brief stay in Kangerlussuaq in August 2018 was for 24 hours, the final stop on an educationally oriented cruise in the Canadian Arctic and Greenland. It quickly became obvious that Kangerlussuaq differed from the typical Greenlandic towns we had visited, coastal fishing communities with colorful houses perched above a harbor filled with small boats.

Baltimore @ Red Lights

With my series “Baltimore @ Red Lights” I unveil my playful take on Baltimore’s most well-known landmarks. Done in the style of contour or “blind” drawings when looking out my car window while sitting at red lights, each illustration is created with one continuous line. I then brought these drawings to life with bright colors on canvas to capture the fast pace at which we move through our city. I found a deep sense of stillness and appreciation for these objects that our eyes tend to quickly graze over, as I sat with them and took in their detail.
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