I am fascinated by how our culture is quickly merging with technology through the advancements of science. We are forced to innovate at a rapid pace because of injury or the fragile design of a human figure. There is an innate feeling in us that a limb or organ can be replaced or made more effectively and, as a species, we want to advance our bodies past any disability. Scientists and Innovators work to produce a device through bioengineering that capitalizes on replacing or repairing a damaged design, which does the job better than its predecessor. We are no longer willing to live with handicaps, performing alterations to Life with revolutionary technology and biological research to avoid them.
The advancements and research of bionic integration and biological engineering has greatly inspired my work. Hugh Herr, who lost his legs to hypothermia, is revolutionary in his research with bionic limbs and how electro-mechanics are attached to the outside of the figure and implanted inside the body. His research has helped handicap victims replace a phantom limb with a synthetic limb that moves like flesh and bone and feels like an actual living appendage. Biological engineering describes research done with stem cells to cultivate, refurbish, and enhance damaged organs. Surgeons are already using 3-D printers with implants for bone replacements, but now scientists are looking for ways to print organs and use cells as the printer ink.
A major part of painting for me is the relationship that I build through cultivation. I trust my process, looking to the unpredictable nature of the materials to offer guidance on concept and composition. The notion of “time” is felt in the stacking of numerous transparent layers applied to each piece. My paintings are not objects assembled by machines or other individuals; I develop a bond and communicate through the development of each work. This technique is based on a physical language; by pushing the paint with my hands, I am infusing my energy into the gestures. My work represents stories from human history and scientific research, but also develop a visceral sensibility that makes the painting feel “alive”. By working this way, I learn something new from each piece allowing my process to open doors I would have never thought to walk through.
My work reflects society’s attempts to evolve through science and innovation, showing the challenges we face when a person experiences disability. My imagery conveys a world where the line between organic and machine has become blurred, giving birth to factual situations integrating technology and the human form where the characteristics of the two are indistinguishable. I aim to depict mechanical apparatus resembling its living equivalent, functioning in architectural environments full of danger, beauty, and comedy. My work narrates the common struggles we have with the limited and fragile design of a human body. Advancements from technology are shown through repairs to war victims, amputees, and birth defects. Biological structures, timelines that evolve with repairs, and temperamental interactions between the human forms, adjusting to technological replacements, fill the picture plane. My ideas derive from humanity under the umbrella of science with technology and portraying possible advances with the joining of the two species.