Charlotte Street Foundation identifies the needs and fuels the evolution of an ever-changing multidisciplinary arts ecosystem, acting as its primary provocateur. We cultivate the contemporary, the exceptional, and the unexpected in the practice of artists working in and engaging with the Kansas City Art Community
“In my studio practice, I create monolithic objects and spaces that show the passage or accumulation of time. I use video, painting, and sculpture to a similar end; all of these processes allow me to produce images that serve as spatial or temporal containers. Architecture is often referenced as a system for building these images, because of its innate ability to record time and shape space. However, I try to employ a shape language that contradicts the tendencies of architecture, avoiding right angles and using irregular curves.
The paintings I make create a passage of time through the accumulation of marks and surface treatment. I will often bury a long history of decisions under a new, flat layer of paint, leaving only the record of the texture behind. The images within the picture plane are usually composed in a very central fashion; they appear either as objects centered on a non-descript space, or window-like passages into spaces beyond the plane. The residual texture created in the process records the time spent with the painting at a 1:1 ratio. The illusionistic component of each painting is a spatial depth that contradicts the heavy surface treatment. This contradiction, paired with the oblong and warped architecture, forms an anxious image full of formal tension.
In my sculptural work, I make objects that suggest a more narrative history. By compressing layers of wood and sanding them into seamless forms, I can create the illusion of the wood as a solid and natural material. The wooden objects take on the appearance of relics or artifacts that are simultaneously aged and pristine. When I apply paint to the objects, rather than leaving them untreated, I try to create effects that suggest some enigmatic material other than paint. This is another strategy to produce objects that suggest a mysterious narrative association.
My video work represents a convergence of many of the strategies I use in other media. Since this medium is inherently time-based, I focus on spatial movement, and different methods to facilitate it. The compositional structure of the videos is meant to liken them to my painted images; they are made in a way where many elements of the video are very still, and a subtle section of movement activates the image. There is also an inherent narrative connection that the viewer makes when being moved through successive spaces. The sense of forward progression in each piece suggests a kind of linear storytelling, but the formal ambiguity of each space confounds that notion. Since I create my videos to function as loops, there is a lot of time for the viewer to investigate these ambiguous spaces with each passing loop. The result of the loop is similar to looking around a room; there is time to examine the components and form an improvised narrative. Like my paintings and sculpture, the video work presents an opportunity for the viewer to engage with the piece and form a subjective response to the system presented.”