According to Plato, the visible world to which we experience is a mere shadow—a poor conception of the world we actually belong to. Room #934761 explores the allegory known as 'Plato’s cave,' juxtaposed into references of liminality, ecological issues, and psychological states. 

In the artwork vegetation is depicted as growing inward—attracted to what seems to be a locationally ambiguous liminal space—a stark pink room that contrasts the natural elements which seemingly surrounds it. This imbues the work with a kind of fascination and disquiet, happening over the passage of time. The coming together of stark contrasts serve as a reminder that cutting edge trends and novelty will evolve into new iterations or be abandoned altogether, situating the viewer in a slippery world, one teetering wildly between promise and devastation.   

The painting depicts elements that fluctuates between the familiar and the unknown, moving along the threshold between inside and outside—spaces that both invite, and potentially decline access, goading viewers to consider the link between the interiority and exteriority of human movement. This presents us to a sort of alternate reality—a kind of parallel world or a sanctuary that exists under the surface, where the physical and the metaphysical blend in more obvious ways.

Room #934761

Genesis #76757c

Conditioning Reality #545543

The paintings portray the coming apart of a world depicted in the grandeur of its genesis, and revealing in its place, a blurry form divested of discernible characteristics—imbuing the work with a kind of fascination and disquiet while also denoting a sense of distance and displacement. 

And yet upon closer inspection, the contrasting elements seem to form a dyadic interaction with each other—interactions that feel almost anthropomorphic—creating pockets of liminal spaces that both invite, and decline access to the viewers. This presents us with an alternate reality—a kind of parallel world or a sanctuary that exists right under the surface, where the dichotomy of man and nature blend in less obvious ways, encouraging viewers to consider the links between the interiority and exteriority of human movement, and how they relate to our environment. 

This coming together of contrasts—an agreeableness that fluctuates between the familiar and the unknown, situates the viewers onto a slippery world, one that teeters wildly between promise and devastation. In confronting these insights, one might be goaded to contemplate—not only of our material relationship with nature, but the relationship we have with our environment, and each other—allowing us to better articulate and imagine ways in which we can learn to co-exist. 

Conversation #6c695f

Conversation #82827b

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According to Plato, the visible world to which we experience is a mere shadow—a poor conception of the world we actually belong to. In my works I aim to explore this allegory known as Plato’s cave, juxtaposed within the archetype of spiritual liberation—an existential pursuit in which the divine and the terrestrial combine.

The paintings depict the wilderness—a re-imagination of the world portrayed in its most natural state—in the grandeur of its genesis. Layered into multiplex narratives, the vistas however unveil themselves to be mere illusions, their verity exposed by expanding distortions of form—a downward pull from the effects of gravity. In allowing the process to take its course, a formless state of nothingness is revealed, and the idea of an infinite possibility is introduced.

In experiencing both the synergy, and the tensions that arise between formlessness and form, exploring the dynamics between that which is tangible—the world of perception, and that which is possible—the eternal realms that exists beyond. Additionally, the artworks examine the relationships—from both a syntagmatic and paradigmatic perspective—between the fall of one world, and another struggling to be born.

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#42514e

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According to Plato, the visible world to which we experience is a mere shadow—a poor conception of the world we actually belong to. In my works I aim to explore this allegory known as Plato’s cave, juxtaposed within the archetype of spiritual liberation—an existential pursuit in which the divine and the terrestrial combine.

The paintings depict the wilderness—a re-imagination of the world portrayed in its most natural state—in the grandeur of its genesis. Layered into multiplex narratives, the vistas however unveil themselves to be mere illusions, their verity exposed by expanding distortions of form—a downward pull from the effects of gravity. In allowing the process to take its course, a formless state of nothingness is revealed, and the idea of an infinite possibility is introduced.


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