In information technology, lossy compression is the class of data encoding algorithms that uses inexact approximations where unnecessary information is discarded to represent the content; this often introduces visible artifacts within the data.
An abundance of work is composed in a square format, an ode to the pixel. The content itself is a reflection of observations of existence made through the examination and reconstruction of fragmented memories, experiences, and concepts. The work often romanticizes the affairs through color, juxtaposed against the rigidity of the subject matter. Though the subject matter is sharp it isn’t ever entirely clear, only looking it’s clearest when seen from a distance, similar to the way experiences oftentimes make more sense in hindsight.
There are reoccurring elements seen frequently across all platforms of my work, all of which typically exist within their own plane. The foreground recurrently contains gestural smears and or markings – “artifacts” if you will, drawing parallels with lossy compression. The middle grounds oftentimes hold the subject, in pseudo space burlesquing a decaying low-resolution style. Lastly backgrounds, in contrast, are typically conjured as pure expression and emotive; exploring color, movement, surface, and physicality of paint.
My work originates from my intrigue in both data manipulation and digital decay.
Digital decay is a term that is used to describe any degradation, obsoletion, or breakdown of computerized information. All digital information and storage are prone to some sort of decay.
My process is an examination, destruction, and reconstruction of fragmented data exported as paintings through both analog and digital means. I find beauty in errors, glitches, and obsolesce therefore; introducing human failure is an essential component of the work.