What inspired your Metamorphosis collection? When looking for ideas and inspirations, where do you normally go and what do you do to get into the creative mood?
In the summer of 2015, I was awarded a residency fellowship from the Cooper Union School of Art. Ever-present at the residence was the influence of the Cooper Union New Academic Building. The design of the building resonated strongly with the architectural leanings of my artwork. Its twisting frame and exceptional lattice-work yields unique light inside and out. Being awarded the residency was truly serendipitous, as I was inspired instantly.
Allowing the structure’s influence to permeate my stay, I used aluminum sheets as the medium, in part, for reflecting the usage of metal in Deconstructivism. Alluding to the chaotic form of the building’s insides, I used the material’s malleability to confuse the painted surface with its added dimension.
The name of the piece is a nod to the architect Thom Mayne, of the Morphosis architectural firm.
As with Metamorphosis, my work has always been influenced by my surrounding and travels. In all the places I’ve been, from ancient ruins to the world’s most modern cities, there is a blurred line of ancient and modern that brings my inspiration. The skeletal remains of ancient dwellings within the oldest cities of the East parallel the framework of newly-birthed construction sites in (comparatively) new Western cities.
Could you please describe the physical and artistic aspects of your work on a daily basis? I assume that shaping aluminum sheets and painting with acrylic must be physically tasking. Please correct me, if I am wrong.
The majority of my works are large-scale, so there always physically laborious moments. I work by shifting between wall and floor, so the heavier or bulkier the piece, the more physically demanding it is.
Do you know ahead of time what you are going to create or do you design your work as you go along with the creative process?
I have a general idea of what I am going to work on. Basics start with what material I will be using, what colors to coordinate, and the size of the work. To understand the general form and design, I use pen drawn sketches, ink drawings, and small maquettes. Occasionally, I collaborate with engineers for statics of standing pieces.
By not following a structured plan, I allow the dialogue of the creative process to surprise me. I let the paint guide me to the next step of what I can bring on to the next layer. As the imagery develops I refer to my photographs for detailed areas of the painting.
Could you please share a few details about your current project with our viewers/readers?
Since my work is very architecturally influenced, I’m translating the material used in that field for my work as well. Specifically for my current piece, I’ve chosen Balsa wood to experiment upon. I’m also considering a layered-structure installation to be a more blended combination of both on the wall and free forms into the gallery space.