Though it’s hard to determine when someone truly knows themselves as an artist, I can state that over the past few years, I feel more attuned to both my purpose and interests when it comes to painting.

 

Much of my work this year centers reflections of growing up queer in a conservative theocracy, coming to terms with my ongoing battles with mental illness, and the quintessential artistic dialogue of dealing with matrilineal trauma.  I paint more fluidly when I feel emotionally connected to what’s happening between me and the canvas.  Lately, my practice has been to find the story, feel the story, then paint.  

 

I often explore personal experiences growing up gay in a conservative, religious environment–both domestic and societal.  Instead of painting direct memories or incidents as narrative, I am interested in speaking to a society that casually maligns queer humans as morally bankrupt sinners doomed to eternal punishment through Christian concepts. 

 

Whenever I paint, at least right now, I want to keep hopping around to new ideas, revisiting old ones, and  slowly peel back the layers of insecurity that envelop the shy, inner artist within.