Humanity has been cast out into a homeless world where we have been coerced into reconstructing an imitation of life through technological material. Through the advancements of science, which continues the legacy of masculine domination over nature, technology has not only dismantled the gods and goddesses of the past but has itself become a god–a technogod–and turned us into systems of binary mechanization to fit the paradigm shift.

My works are manifestations of an inner dialogue that express cyborganic spirituality, psychological trauma, bliss, disassociation, humor, fear, duality, oneness and isolation. It is a concentration, balance and dissemination of gendered forms, the need to uncover and nurture, the meticulousness of line and flow and the desire to see not only holistically but from subversive or broken standpoints. I believe American society has become bright, colorful, dynamic and oversaturated with information, disguising the ugly and fragmented; avoiding the intersecting oppressions that are present in our modern lives. I use bright, bold colors and fluid, concrete forms to captivate the viewer, much like modern technology has, but I do not use it to veil the strange, painful, or forgotten: I use it to call it out; to exercise it; to exorcise it.

I have begun to call my art “technomysticism”, which conjures up my deep connection with the old world, the mysterious, my ancestors, my mixed blood, my current entanglement with 21st century technological consumption, and the unknown environment of the future. My method of working with heavy lines and saturated hues allows me to juxtapose loose, flowing characters with hard-edged, geometric angles; flat and disparate blocks of color and pattern with technically crisp, realistic bodies to create a balance of fragmentation and interconnectedness.

As an artist, I have taken on the role of story-teller, and I am passionate about creating captivating narratives that appear not necessarily frozen, but transcendent of time. My characters wear masks and headdresses and perform rituals of societal gaze and esoteric confrontation; they take on androgynous forms, distorting and subverting cultural and gender boundaries. My landscapes, influenced predominately from growing up on the high plains of western Kansas, are littered with absurdity, desecration, ambiguity and blasphemous neuron firings; like flying genitalia, rolling hills, polymorphic symbology and robotic babies. I desire to capture mystical experiences, like the awakening of numerous peoples and identities in this shell I call a body; or dream experiences where I spend moments in flight, travelling through the ‘in-between’; or in strange, social carnivals of lust and disorder, violence and stillness, where people morph into other animals and vice versa.

For me, creating art is spirituality in practice; it is a moment of taking disorder and confusion and bringing it into harmony, bringing it to the surface. We are spiritual nomads wandering a desolate landscape we call existence; and through my art I traverse the pandemonium of post-modernity not necessarily hoping to come upon the right answers but in hopes that I can continue to develop and participate in a meaningful existence that compliments the vast collective of experiences and perspectives that can be shared with me.