Building on the work of historic painters like Rachel Ruysch, Jan de Heem, and Jan van Huysum, my work uses the Dutch Baroque as a mirror for the contemporary United States. The visual language I currently favor is informed both by art historical works and contemporary painters, including Catherine Murphy, Ellen Altfest and Simon Ling.
In his book, "Looking at the Overlooked: Four Essays on Still Life Painting," Norman Bryson touches on one way in which still life, through the use of hyper-attention, holds together two opposing tendencies. He suggests that this is done by balancing the social meaning of a given object against a painter's tendency to obsessively work through a vision of the particular object, defamiliarizing it and puling it out of context (p 89). My work intends to create such a disconnect from everyday ways of seeing. I hope that, following from Bryson's theory, this piece will provoke the viewer to have a fresh encounter with everyday objects.
born: 1980, Rockford, Illinois
University of Notre Dame, BA, 2002
Cornell University, incomplete graduate studies in anthropology 2004-2006
University of Washington, MFA, 2015 (projected)
Davis, Rodney. The Modern Vanitas, 2014
selected group shows
Off the Grid: Summer Works, Sand Point Gallery, University of Washington, 2014
1st Year MFA Show, Jacob Lawrence Art Gallery, University of Washington, 2014
Small Things, Haynes Galleries, Nashville, Tennessee, 2012
Annual Exhibition of the Royal Society of Portrait Painters, Mall Galleries, London, England, 2011