Making my paintings begins with becoming one of the crowd as part of the everyday experience. On busy city sidewalks with my camera, I make my source images of the urban crowd and its figurative gestures, intersections and spaces between its members. Since the emergence of flaneurism and urban culture in 19th century Europe, the online social frontier has recently developed and has changed our visual perception of the physical crowd experience. Painting, as a conceptual medium, simultaneously expands and collapses these moments I capture as an enriched site of knowledge about us as a collective. Straddling the boundaries of representation and abstraction, I allow the photographic language give way to the language of painting.
The physical crowd experience is continuously interrupted by the attraction of the social online community that can be accessed at all times through our handheld devices. It is this fleeting and fragmented sense of perception specific to our time and circumstance that poses problems in painting that I find worthy of investigation. The language of painting takes up the problem of presenting the crowd in an atmosphere that has yet to be determined in art.