This body of work is designed to compress the gap between what we associate with class and what we associate with camp.

In the overlap of these two aesthetic worlds we find excess. Using a modern color palette over the unconventional surface structure of foam, the works are meant to entice the viewer on looks alone. Formal painting language and techniques are utilized, alongside materials traditionally associated with craft in order to create a world that is both opulent and accessible. No one would dare call a Manet painting tacky, and no one is going to call a candy wrapper fine art, but when the two are placed within the same work, where on the spectrum of cheap vs. class does it fall? The goal is to break down the imagined hierarchical structures to which the art world adheres by subverting these formalist techniques and instead creating a world that is rooted in history, while altering that history in order to better reflect my own personal metaphysical state. 

These works act as dreamscapes. Much in the same way that memories will blend together in order to create dreams in the subconscious, these works blend together visual influx (cartoons, landscapes, etc) with thematic emotional underpinnings such as rejection of expectation or wealth status. These elements combine to create a portrait of inner state.  Various female forms appropriated from historical media gaze back out from the canvas, acting as a stand in for my own self perception. Each figure represents a facet of self. Each compositional element, or found object is a reflection of my metaphysical surroundings. Ultimately the real narrative of each work is left up to the interpretation of the spectator. How much meaning is derived is up to them to decide, and if one is not in the mood to excavate content, then the work serves simply to look pretty.