Artist Statement
Through my work I prognosticate aspects of society’s future through ideas of spirituality, communication, and economics. Much of my drive is a need to make sense of changing perceptions of language and culture to deconstruct the rapid de-romanticizing of contemporary life in the recent information era of humanity. This is an effort to establish venerability and ceremony in everyday banalities in order to harmonize the seemingly contrary concepts of economy and spirituality. By illuminating the pitfalls of how, in a very general sense, contemporary culture is passively described as inherently counterproductive I strive to make viewers refocus on what the future truly means. It is the hope of possibilities that will always outweigh the forces that keep people and cultures in a stasis devoid of aspiration.
Much of my current work involves motifs derived from my shared Dena’ina heritage and language which are nearing practical extinction in this time period. I view my creative work as my life’s duty with the goal of proving that cultural preservation as we know it is not possible and recreation of its tangible facets is a futile exercise in endless grief chasing the shadows of the past. On the opposite side I also want to demonstrate that we all possess the miraculous gift of being able to paint the cultures of the future by embracing the raw inspirations and meanings hidden in the stories of our past and the cosmic knowledge of our ancient origins.
My practice includes traditional painting methods, sculptural assemblage, and 3D printing, however my medium of choice is ink and paper as they are materials which universally represent the thin line between the two schools of human visual expression: representational drawings and illustrations, and abstractions in the form of symbols and written language. Symbolically I imagine my body of work to be an infinite written language in which each piece represents a single letter or syllabic phrase that correlates to the personal spirit embedded within.
Much of my current work involves motifs derived from my shared Dena’ina heritage and language which are nearing practical extinction in this time period. I view my creative work as my life’s duty with the goal of proving that cultural preservation as we know it is not possible and recreation of its tangible facets is a futile exercise in endless grief chasing the shadows of the past. On the opposite side I also want to demonstrate that we all possess the miraculous gift of being able to paint the cultures of the future by embracing the raw inspirations and meanings hidden in the stories of our past and the cosmic knowledge of our ancient origins.
My practice includes traditional painting methods, sculptural assemblage, and 3D printing, however my medium of choice is ink and paper as they are materials which universally represent the thin line between the two schools of human visual expression: representational drawings and illustrations, and abstractions in the form of symbols and written language. Symbolically I imagine my body of work to be an infinite written language in which each piece represents a single letter or syllabic phrase that correlates to the personal spirit embedded within.
Biography
I'm an American artist currently living in my big, cold, empty home state of Alaska. On the spectrum of art vs. design my work heavily resides in the art side, however I am constantly intrigued by the applications of principles derived from art in design projects and ethics.
I was born in Homer, Alaska, and have always been deeply engaged with fine arts since my earliest memories at home. At age 13 I began to further engage in fine arts by starting Rennaissance-era art history study independently, spending my free time working on a series of abstractions using acrylic paint and found materials, and creating my own style of comic illustration. While I have not had formal studio training my education has always revolved around the arts in some level. While attending Capilano University in Vancouver, Canada, I became further interested in the arts while studying anthropology and language and discovering the unique but often uncommonly known connections between art movements and civil developments. Much of my formative inspiration came from the artists and institutions in the Vancouver area, especially from the post-modernist movement and those engaged in the beginning of the "synthesis age" that attempt to evoke social solutions by hybridizing our glut of knowledge and materials harvested during the information age. In 2010 I moved back to Alaska to assume an administrative position with my Dena'ina culture tribe's indigenous government and social services offices. During my time there I became involved with the arts further, creating and administering social arts initiatives and events in rural areas of the Kenai Peninsula region of Alaska. I also participated in several indigenous cultural projects and much of the experience gained continues to be reflected in my current work. In early 2014 I left my administrative position and began my work as an independent artist and designer, and today I am continuing to be happily working on my various projects and series. |
Exhibits, Installations, and Honors2019: Apollo's Siheyuan
Exhibit, December 2019 Bunnell Street Arts Center Homer, Alaska 2019: Freed Formats: The Book Reconsidered - Curated invitational exhibit March - October 2019 Various Locations in Connecticut, New York. 2019: Qena Sint'isis Exhibit, January 2019 Leah J. Peterson Gallery at Alaska Pacific University Anchorage, Alaska 2018: Tuggeht Janju Tets' (2017) Installation Homer Public Library Homer, Alaska 2017: Qena Sint'isis Exhibit, April & May 2017 Pratt Museum Homer, Alaska 2016: Q'es Krieyshon (2016) Installation Ninilchik Traditional Council Ninilchik, Alaska 2015: Judge's Choice Award Yaletown (2014, ink on paper) April 2015 - 2015 Biannual Judged Show Kenai Fine Arts Center, Kenai, Alaska 2015: Silver Hand Artist Alaska State Council on the Arts Press |