WEBVTT

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>> AS A PAINTER, I'M INTERESTED

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WITH OUR RELATIONSHIP TO THE

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SPACES AROUND US AND OUR

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IMMEDIATE SURROUNDINGS, HOW WE

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RELATE AND INTERACT WITH PLACES

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THAT ARE FAMILIAR TO US.

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SO A LOT OF MY WORK, FOR

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SEVERAL YEARS, HAS BEEN,

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REALLY, ABOUT THESE AREAS THAT

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ARE QUITE EMPTY OR QUIET.

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THINGS YOU MIGHT EASILY PASS BY

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THAT DON'T RECEIVE A LOT OF

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ATTENTION, BUT I FIND THOSE TO

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BE AREAS THAT ARE QUITE

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PEACEFUL AND PLACES FOR

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INTROSPECTION.

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BEING IN THOSE PLACES ALLOWS

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FOR CAREFUL ATTENTION, NOTICING

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AND JUST THE ACT OF SEEING AND

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LOOKING AND USING IMAGINATION

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TO THINK OF MAYBE A DIFFERENT

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FUTURE FOR THAT SPACE OR

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IMAGINE THE HISTORY OF A SPACE.

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>> MY PROCESS USUALLY INVOLVES,

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FIRST, JUST EXPERIENCING A

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PLACE OR A SPACE I AM

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INTERESTED IN OR THAT IS

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FAMILIAR TO ME.

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REALLY, IF I JUST SEE SOMETHING

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THAT I AM CURIOUS ABOUT OR

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STUMBLE UPON SOMETHING THAT

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MAYBE I HAVEN'T NOTICED BEFORE

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IN A PLACE I HAVE BEEN MANY

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TIMES, THAT ACT OF NOTICING IS

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INTRIGUING TO ME.

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SO I AM USUALLY COMPELLED TO

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EITHER JUST TAKE A PHOTOGRAPH,

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A VIDEO, DO A DRAWING.

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A LOT OF TIMES, AN IMAGE WILL

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STRIKE ME AS JUST SEEING

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SOMETHING AND THINKING, I WANT

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TO PAINT THAT.

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SO IT KIND OF EVOLVES FROM

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THERE.

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I HAVE ALWAYS JUST LOVED

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DRAWING.

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DRAWING FEELS LIKE MY FIRST

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LANGUAGE, RATHER THAN EVEN

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SPEAKING OR, UM, WRITING.

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I DO A LOT ON SITE AND A LOT OF

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TIMES I'LL COME BACK TO THE

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STUDIO AND KIND OF PIECE

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TOGETHER IMAGES OR MEMORY OR

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THOSE SKETCHES OR THOUGHTS THAT

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I HAD, LIKE, COMBINING ALL

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THESE FRAGMENTS TO KIND OF

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COLLAGE TOGETHER MORE OF A

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UNIFIED PIECE.

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>> A LOT OF THE AREAS I PAINT

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OR THE IMAGES THAT I AM

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INTERESTED IN FEEL SILENT.

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AND THEY FEEL STILL.

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I WANT THAT SENSATION TO PULL

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THE VIEWER IN AND BE MORE

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INTROSPECTIVE OF THEIR OWN

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INTERPRETATION OF MAYBE THEIR

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OWN SURROUNDINGS OR THEIR

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EXPERIENCE OF THE WORK THAT IS

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PRESENT IN FRONT OF THEM.

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IN A LOT OF THE IMAGES ARE

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EITHER OBSCURED OR KIND OF

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AMBIGUOUS SO THERE IS THIS

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UNDERLYING FAMILIARITY THAT I

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THINK IS NICE FOR OTHER PEOPLE

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TO RELATE TO.

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>> SOME OF THE PUBLIC ART

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PROJECTS THAT I'VE DONE IN THE

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PAST HAVE BEEN THE RESULT OF

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MORE OF A COLLABORATIVE

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COMMUNITY EFFORT WITH

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ORGANIZATIONS OR PARTNERS HERE

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IN SPRINGFIELD.

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I DO LIKE BEING PART OF A

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LARGER PROJECT THAT IS NOT JUST

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MY ARTISTIC VISION.

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IT'S A GROUP EFFORT.

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THAT WAY IT IS MORE

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REPRESENTATIVE AS US AS A

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COMMUNITY RATHER OF JUST AN

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INDIVIDUAL AS AN ARTIST.

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>> REALLY, I FIND INSPIRATION

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FROM JUST ABOUT EVERYTHING.

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I KNOW THAT IS SUCH A BROAD

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ANSWER BUT I TRULY BELIEVE

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THERE IS NOTHING THAT IS BORING.

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AND NO MATTER WHAT SMALL DETAIL

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YOU HAPPEN TO COME ACROSS, YOU

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CAN DRILL DOWN INTO KIND OF THE

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INERT ENERGY OF WHATEVER THAT

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THING IS.

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FOR INSPIRATION, I MEAN, A

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VACANT PARKING LOT, I FOCUSED

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ON PAINTING VACANT PARKING LOTS

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FOR A VERY LONG TIME OR JUST

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SOMETHING I SEE WHEN I AM

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WALKING TO MY STUDIO.

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I THINK THE ART-MAKING PROCESS,

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FOR ME, IS QUITE ANALOGOUS ALSO

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TO LIKE A MEDITATION PRACTICE.

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AND IN THAT SENSE, ART-MAKING

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IS A WAY OF THINKING, A WAY OF

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JUST BEING AND EXPERIENCING THE

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WORLD AROUND US.

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I THINK EVEN JUST VIEWING ART,

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APPRECIATING IT, IS SIMILAR IN

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THAT WAY, THAT YOU ARE CREATING

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MEANING, YOU'RE MAKING

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INTERPRETATIONS THAT CONNECT TO

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YOUR LIVED EXPERIENCE.

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I DON'T HAVE EVERYTHING FIGURED

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OUT AT THE BEGINNING.

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I ALMOST NEVER DO.

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>> RIGHT NOW THAT I AM IN

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GRADUATE SCHOOL, I WORK WITH A

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LOT OF UNDERGRADUATE STUDENTS.

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AND ONE THING I SEE, UM, FOR A

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YOUNGER GENERATION OF ARTISTS

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THAT I THINK WILL BE HELPFUL IS

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JUST THE UNDERSTANDING THAT IT

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IS A PRACTICE.

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IT'S NOT KIND OF A FINISH LINE

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THAT YOU GET TO.

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IT'S AN ONGOING PROCESS.

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IT'S A --IT'S KIND OF A

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LIFESTYLE, IT'S A WAY OF

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THINKING, IT'S A WAY OF JUST

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BEING IN THE WORLD.