Statement(s)

Design Statement

These curation of forms following function is utilized through the design trade ranging from digital and printed mediums, as a means of visualizing the relationships between type and imagery as a form of communication. Choice of medians act as tools to create a dialogue for personal interests, pride of cultural identity, and social justice awareness. The brand identity within the logo utilizes blackletter and transitional typographic letterforms, such as Chomsky and Baskerville, suspended above a work mark. Chomsky functions as typographical and allegorical representation of the past when similar typefaces were employed in newspaper articles and manuscripts. Baskerville operates as display text, showcasing the contrasting serifs and strokes throughout its anatomy. As a result, this design methodology produces a work that combines a historical and conceptual narrative.

Artist Statement

The foundation of these works visualizes a conceptual language as a means of documenting the artists’ emotions through instinctive paintings of colors and shapes.  Tools of the trade that compose these abstractions are acrylics as a choice of medium, color palettes that are archived through photographs, and a canvas servicing as a painting surface.  Acrylics are very adaptable means that can be constructed and reconstructed within the surfaces of the canvas, providing my mark-making techniques of geometric and organic shapes the opportunity to transform with a variety of colors.  Using whole geometric and organic shapes, in contrast towards free flowing shapes, are constructs that I personally gravitate towards.  While painting, colors instinctively transform into certain geometric and organic shapes, primarily circles, squares, and rectangles.  Experiments with the opacity also provide new opportunities to arrange and layer shapes throughout the canvas.  As it develops, a grid-like composition builds, becoming a two-dimensional  painting with elements that uses the surfaces of the canvas for a composition, or, painterly structures bleed into the edges of canvas as a means of transforming the painting into a three-dimensional sculpture.  When curating my colors, these palettes extend from my paintings, housing these fashioned acrylics making-way towards the canvas via brushworks.  Afterwards, they are documented and repurposed as photographs in order to preserve the records of the procured paints and colors, while functioning as their own bodies of work.  Ultimately, the canvas exhibits the final work, encasing all these personal visual identities of instinctive mark-makings, colors, and shapes.