Tessellate Series
Recall a daydream or an occasion where time seemed to evaporate but left a single image captured by your mind. Those are the moments that command my focus; like when you turn for a double take but are left mistaken. I am searching for fleeting instances that are fragile, barely tangible, yet are clear and crisp.
Tessellations are identical shapes that infinitely tile together without overlapping or gaps. Through design, they have the ability to be structured, organic, or a combination of both. The paintings in my recent series, “Tessellate,” are composed of vibrant, patterned, geometric forms that take shape as interwoven elements that build meaning from a recurring framework. Each tessellation pattern is created by hand; drawn, cut, then joined together. I imagine each tessellation as a lens to investigate the fullness of the shape and anything it contains. With every rotation of the shape, it changes character and the viewer's perception can change based on an individual collection of lifetime associations. This is where much of my interest lies.
While some pieces like ‘An Ode to the Future Volumes I-III’ have fixed orientations, others like ‘Tessellate I’ have no constraints and may be determined by the curator or viewer. The purpose of this is to encourage a heightened sense of interactivity between the work and the viewer. Through much consideration, I have discovered that the questions I am asking cannot be solved by absolutes. Possibilities are infinite and I will follow where they lead.
Tessellations are identical shapes that infinitely tile together without overlapping or gaps. Through design, they have the ability to be structured, organic, or a combination of both. The paintings in my recent series, “Tessellate,” are composed of vibrant, patterned, geometric forms that take shape as interwoven elements that build meaning from a recurring framework. Each tessellation pattern is created by hand; drawn, cut, then joined together. I imagine each tessellation as a lens to investigate the fullness of the shape and anything it contains. With every rotation of the shape, it changes character and the viewer's perception can change based on an individual collection of lifetime associations. This is where much of my interest lies.
While some pieces like ‘An Ode to the Future Volumes I-III’ have fixed orientations, others like ‘Tessellate I’ have no constraints and may be determined by the curator or viewer. The purpose of this is to encourage a heightened sense of interactivity between the work and the viewer. Through much consideration, I have discovered that the questions I am asking cannot be solved by absolutes. Possibilities are infinite and I will follow where they lead.
An Ode to the Future Vol. 1, acrylic on canvas, 12" x 12"
An Ode to the Future Vol. 4, acrylic on canvas, 12" x 12"
Atomic, acrylic on canvas, 8" x 8"
Tessellate I, acrylic on canvas, 12" x 12"
Roller Rink Carpet, acrylic on canvas, 24" x 18"
Structures & Particles I, acrylic on canvas, 14" x 11"
Flesh, Muscle, Gristle, Thistle - acrylic on canvas, 18" x 24"
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An Ode to the Future Vol. 2, acrylic on canvas, 12" x 12"
All Lit Up, acrylic on canvas, 20" x 20"
Tessellate III, acrylic on canvas, 4" x 4"
Tessellate II, acrylic on canvas, 12" x 9"
Tessellate: Channel 17, acrylic on canvas, 20" x 16"
Tessellate: The Preparation, acrylic on canvas, 16" x 12"
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An Ode to the Future Vol. 3, acrylic on canvas, 12" x 12"
Transmit, acrylic on canvas, 8" x 8"
Prizefighter, acrylic on canvas, 12" x 12"
Cow or Stegosaurus Topiary, acrylic on canvas, 24" x 18"
Structures & Particles II, acrylic on canvas, 14" x 11"
Internal Conflict, acrylic on canvas, 12" x 9"
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