Since the decline of imperialism and rise of globalization, the world has been in an era of post-colonialism. With the Eurocentric vision of modernity called into question, the hierarchies in art of dominant western artistic cultures (Europe and the U.S., for example) has begun to weaken. This not only leads to a more complicated view of history but our understanding of contemporary time and place as well.
As political imperialism has lost its hold on emerging countries, a whole new beast called globalization has risen as a globally integrated, connected society held together by an overarching infoscape and instant communication. Consequently, a resistance to globalization has also risen in second, third, and fourth world countries, taking the form of anti-American and colonial art, which also re-engages with native cultures. This leads to some of the most complicated societal and power structures to date since power is constantly shifting, leaving the world in a state of rapid transition surpassing even 20th-century transformations.
With these ideas in mind, I begin to paint. I do not attempt to create abstract representations of current global societal complexities, but these ideas swirl around my mind while I paint. I create my paintings through layered dichotomies and contradictions to create dense compositions of opposing, dynamic forces. I often start with a layer of improvisational broad marks until I discover a composition I feel I can respond to with layered, controlled geometric shapes in a back- and-forth manner. In the end these opposing ideas not only compete and create tension but also form an alliance to create a cohesive whole that forms this body of work, “Supposed Structure.”