(de)compose 7
Based off Claude Monet’s “Water lilies” 1926
(de)compose 6
Based on Jack Whitten’s “Atopolis: For Édouard Glissant” (2014)
(de)compose 5
Based off Jay DeFeo’s “The rose” 1966
(de)compose 4
Based loosely off Mark Rothko's chapel work "The Apse Triptych", 1956
(de)compose 3
Based off Richard Pousette-Dart’s “Presence genesis”
(de)compose 2
Based off Jackson Pollock’s “Lavender mist”
(de)compose 1
Based off Joan Mitchell’s “To the harbormaster.”
(de)compose 0
A response to my dislike of traditional oil painting preparation work. I've always agreed with Caravaggio, I'd much rather put my effort towards final products. But what if I reversed the process? I decided to break down famous abstract paintings that I admired, but through a digital means. No color studies and no compositions. Just a decomposing masterpiece for your viewing. To decompose:to separate into constitute parts or into simpler compounds. Connections to alchemy, chemistry and death. To minimize in order to research, study or investigate FORM. This is based off a DeKooning.
Algorithm 744 The Sefer Raziel
Algorithm 743 "Boaz and Jachin"
Algorithm 742 " Hoffman's lens"
Algorithm 741 "Field of dreams"
Algorithm 740 "Oceans of the singularity"
Algorithm 739 "When the 2020 kicks in"
Algorithm 738 "Flowers for grandma"
Algorithm 737 "Sex on the beach two"
Algorithm 736 "Jacob's ladder"
Algorithm 735 "The mirrored man"
Algorithm 734 "What addiction feels like"
Algorithm 733 "Caldor"
Algorithm 732 "As above so below"
Algorithm 731 "Carbon"
Algorithm 730 "Towel of BabEL"
Algorithm 729 "Flowers for Vincent"
Algorithm 728 "Divided we fall"
Algorithm 727 "Shining Star"
Algorithm 726 "Orbital"
Algorithm 725 "Universal"
Algorithm 724 "Dreams of Seattle"
Based on a map of Seattle
Algorithm 723 "Washington D.C."
Based on a map of D.C.
Algorithm 722 "Sitting on the dock of the bay"
Inspired by a map of the Northern Bay Area California
Algorithm 721 "Missing Tacoma"
Inspired by a map of Tacoma.
Algorithm 720 "Jumping in the pool"
The first digital Algorithm. I've found the necessary tools to teach and collaborate with artificial intelligence to make new "digital" Algorithms. Thus proving my previous point with the physical versions. Art can be composed of a series of actions or rules.
Eco-Recyclic #3 "Water under the bridge"
Eco-Recyclic #2 Ice
Eco-Recyclic #1 "Love"
This series is a response to my concern to keep track of my art practices impact on the world, and me concluding that I'd like to minimize my effect on the environment. The works are sculptures painted to imitate and mimic a small cut piece of painted canvas. They have one foot in arts & crafts movements and another in green environmental movements. Bringing an up-cycled quilt to the museum; creating art in favor of the environment.
“Eco” for economy but also ecology; through up-cycling of materials and the works availability made directly through the artist. The works are guaranteed to be made up of at least 90% up-cycled materials.“Re” to indicate the repetition of an action. The actions used to create gestures dancing across the surface. “Cyclic” pertaining to or moving in a cycle or circle. The circle of process and creation. Made of three ingredients; archival cardboard, up-cycled paint, and fine art paint.
I was never super comfortable with painting on canvas, it always felt so delicate and fragile. I'll admit once my pseudo tumor progressed I started accidentally poke holes in my canvas. If I could not control my hand I needed a stronger surface to paint on. I always felt that wood was a superior product to paint on, but it was heavy. It only made sense to navigate to wood as many of the old masters did. The wood panels served me well for the heavy material algorithms. But it didn't make sense anymore after I was diagnosed with an arthritic back in 2021. I needed a light surface to work with, so I turned to cardboard. My only problem was its acidic nature, which would eventually break down. I needed to transform an acidic surface into an alkaline one. The process is quite simple; the cardboard is cleaned, then bathed in an alkaline solution, sun dried, and painted to keep contaminates out. Smaller pieces are cut and weaved through larger pieces to create a weave within the structure. Each weave is unique, so is what is painted on the surface.
(DOP) Disclosure of process #3
(DOP) Disclosure of process #2
(DOP) Disclosure of process #1
Originally called the map series. I'm now calling these works "disclosures of process" or DOP's. They are meant to be actions or recipes to create work. Ripped from my cookbook of ideas. Think of Sol LeWitt's wall drawings.
This is DOP number 1.
Algorithm 375 "There is No Spoon” 2020
Recycled latex paint, acrylic paint, off brand Legos, molded crayons, toy army men, and yarn on four 48 x 48 inch wood panels.
I explore the simulation hypothesis through a lens of Plato's Allegory of the Cave. The simulation hypothesis proposes that all of reality could in fact be an artificial simulation, such as a computer simulation.
“Algorithm 1637 "I think therefore” 2020
upcycled latex paint, acrylic paint, yarn, string, thread, upcycled jeans, and canvas on wood panels. 96 x 96 inches.
An exploration of the mind and my medical condition through the lens of René Descartes's Cogito, ergo sum. The mind is viewed as being separate from the body. Thus sensation and the perception of reality are the sources of lies and illusions. The only reliable truth exists in the metaphysical mind.
Algorithm 1998 " Heavy Mental" 2020
Recycled latex paint, acrylic paint, copper, coffee, glitter, charcoal, graphite, and sand on four 48 x 48 inch wood panels.
In reference to Killah Priest’s 1998 album Heavy Mental. Using sound as a landscape. Space as muse. Visual inputs of nebulas used as inspiration.
Algorithm 0 "Elements of Life"
Recycled latex paint, acrylic paint, dog toys on two 48 x 48 inch wood panels.
This work represented the primordial soup scientists often refer to in the evolution of life on this planet.
Algorithm 815 “Mai Coyote” 2019
Ink and recycled latex on gallery walls
I lost my dog Eydred last year on August 15th. Algorithm 911 Grief was work dedicated to the loss surrounded by my anger and sadness. I wanted to make one piece that was on the opposite of the spectrum. Mai is my in some native tongues. Even to this day, I feel her presence. She is my coyote. Coyotes are said to have great spiritual significance in native mythologies. They are able to pass back and forth from the spirit realm to this physical realm. I choose to use a white patch on the back of her neck as a jumping point. Then I created wave-like patterns expanding out from the marking. This eventually formed into wings and an angelic like form revealed itself.
Algorithm 1980 “Where I walk” 2019
Recycled latex, wire, cardboard, latex gloves, wood chips, wood sticks on 60x60 inch panel
Where I walk: I was born in 1980, hence the name. A self-portrait of my process. I wanted my studio and practice to become a fetish on the ground. This was the most random piece I made while attending UW. I picked all types of materials off the floor in my studio and laid them out randomly on the ground. The pours were also very random. There was no true recipe for this piece other than the randomness of the mark and pasting in of objects.
Algorithm 1622 “Welcome to the Reservation” 2019
Recycled latex, tape and ink on 72 x 48 inch on wood panel
Welcome to the Reservation: In 1622, Powhatan natives attacked Jamestown, Virginia; looking to wipe out the local population. The events that unfolded after led to the genocide of millions of Native Americans. Settlers of North American used this attack to justify their actions against the native population. Welcome to the reservation was a saying used by the Native American activist Russell Means. It is used to describe a world that natives have dealt with for a long time. These same actions are now being used against all Americans. The loss of freedoms in this country has been rampant since 9-11.
Tool 2. Stomach Fistula
The second tool made of the series. One of the symptoms of my condition is frequent nausea. This tool represents that feeling. It is also used to drip paint from multiple points on the wood ground.
Algorithm 911 “Grief” 2019
Recycled latex, graphite, charcoal, obsidian on 48 x 36 inch on wood panel
A cry for help. An explosion of sadness and grief created through the loss of my beloved dog. Volcanos became a jumping point for the work. It seemed appropriate to use the material obsidian. As dealing with her death felt was both unexpected and pain felt daily. I still think about her every day. I wish I could have saved her. She developed an enlarged heart due to diet, and ultimately I blame myself for her death.
Algorithm 2100 “Approach on Mars” 2019
Recycled latex and clay on two 48 x 24 inch wood panels
Inspired by Stephen Hawking's idea that humanity must expand from Earth to other planets by 2100, in order to ensure humanity’s survival. The discovery of water on the red planet sets us up for a collision course with the celestial body. But what would it feel like to land on the alien planet?
Algorithm 1889 "Birth of Light 2". Motif Design 2019
Digital painting
: Birth of Light is a reference to Seattle’s great fire in 1889. Although the fire caused $20 million in damages, it also changed Seattle for the better. Stone and brick replaced wood as a standard building material. Rats and vermin were exterminated by the fire. City officials took over the management of Seattle’s water and the population soon doubled from 20,000 to 40,000. I found it interesting that such a chaotic event could come with such blessings. I actively observed the Seattle landscape through maps before and after the fire. What was created became a compendium of the surrounding landscape through aerial and a perspectival view. This quasi map became both referential but also fractured. I layered lines as streets, freeways, and roads. I dripped paint to create neighborhood like settings. Art is a lot like urban development; each action builds upon the last, in a snowball like fashion. Cities are often built on top of past infrastructure and the layers within Seattle are evidence of that. Recently we had a string of 90 days without the sun in the PNW. Which illustrates my next point, the Pacific
Northwest can be a gloomy place in terms of an everyday palette. I wanted to express that everyday absence of color through the heavy use of white and grays seen in the picture. But I also wanted to comment on my everyday experience with PNW local population. I am originally from California but after being up here for almost two years, I am proud to call the PNW my home. The people here are some of the nicest, most caring people I have ever met in my life. They surprise me every day with their actions; actions like bringing a stranger’s dog water, waving a t-shirt on the freeway to indicate a soon stop to traffic, to a food truck server concerned about a patron’s sleep. This vibrant experience is expressed through cool colors such as blues, violets, pinks that are seen throughout the picture plane.
Tool #1. 1830
In reference to the Indian removal act of 1830, signed into law by President Andrew Jackson. I have Cherokee blood coursing through my veins. This piece symbolizes the sacrifices they made and the items they left behind through their journey known as the trail of tears. Part of the tool series, an art piece but also a tool to be used in my art practice. I use it to violently smack the wood ground with paint.
Algorithm 114 "Quantum Entanglement Love" 2019
Recycled latex, string, yarn, clothing, and dog toys on three 48 x 48 inch wood panels.
This painting has taught me a lot during its creation. I was inspired by the first captured image of a black hole and wanted to relate the idea of a black hole with strength and love. As the piece evolved the idea of quantum entanglement became vital to its existence. The basic idea of entanglement is that when two particles are generated they are connected even when at great distances on a quantum level. One cannot be described without the other. They one, two parts of a whole, yin, and yang. I choose three panels to describe this idea. One panel for each particle and the middle sits a black hole unforgiving, purifying the incoming mess from each particle. Each panel has its own space and direction filled with personal items. In this sense, the black hole represents a relationship’s need for compromise and endless love for the other. Loving someone is not all fun and games. You take it all if you want the relationship to work. You let go of all expectations and just love them for their unique self.
Algorithm 96 "Hurt" 2019
Recycled latex, string dog toy, painters plastic on wood panel
Is a physical representation of the pain I feel when I am deceived. Being honest is not a regular characteristic seen in this place. It is sometimes hard to discern the truth. I burn lots of bridges because of this fact. I took this pain and wanted to express it through paint and dog toys. The dog toys almost become blood vessels dripping on the surrounding wall.
Algorithm 102 "Birth of Light" 2019
recycled latex, clay, wood sticks, string on two 48 x 48 inch wood panels
Inspired by string theory, which is a theoretical framework in which the point-like particles of particle physics are replaced by one-dimensional objects called strings. I chose to depict a landscape based on the idea of a vibration ruled universe born through the big bang. My intention was to describe each string with its own frequency, thus multiplying and changing of mark throughout the picture plane. In this picture, I felt the need to depict the work from a naturalistic view of the quantum arena, in which I painted and built up these frequencies through mixed media. I am also interested in the idea of illusionist space and how formalist aspects can create that space through a list of actions. Formally I can map out a composition but I can never fully control my pictures. They live and breathe as witnesses to actions of chance and are rooted in duality.
Algorithm 101 “Medieval” 2019
Recycled latex, clay, cardboard, string and ink on 48 x 48 inch wood panel
Inspired by the Big Crunch, a theoretical scenario for the universe, in which the expansion of the universe eventually reverses and collapses on itself. The scene depicts the scenario in a not so distant future. The singularity is near.
Algorithm 100 "Sublimation" 2019
Recycled latex, hay, sticks, canvas, and socks on wood panel
Inspired by the transformative force that goes unseen throughout the universe; such as dark energy, black holes, and dark matter. Sublimation is the transition of a substance directly from the solid to the gas phase, without passing through the intermediate liquid phase.
Algorithm 99 "Lost in the Quantum forest" 2018
Recycled latex, hay, wood sticks and branches on 48 x 48 inch wood panel
This piece was inspired by long walks exploring Washington's forests. During my walks, I would collect the fallen sticks of trees. These sticks would eventually be worked into the painting and become actors within the scene. Thus reminding humans of their intimate connection to nature. In addition, I wanted to reference the quantum realm, which is built of vibrating strings. The sticks become references to those strings through their fractal nature.
Algorithm 90 "Just Beneath the Surface" 2018
Recycled Latex on 48 x 48 inch wood panel
Just beneath the Surface: An early work during my time at UW. I’m often referencing things humans are unable to perceive. These works represent the bridge between past Algorithms and future ones. It is represented by the unseen grid but is enveloped by large paint pours which I continue to use to this day.
Algorithm 93 "Starburst a life of a white hole" 2018
Recycled Latex on 48 x 48 inch wood panel
Algorithm 25. 2017
32 X 48 inches (81.28 x 121.92 cm) recycled latex on wood panel.
Algorithm 7. 2017
Recycled Latex on 48 x 48 inch wood panel
Algorithm 26. 2017
48 x 48 inches (121.92 cm x 121.92 cm) recycled latex on wood panel.
Algorithm 1. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 2. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 3. 2017
48 x 32 inches (121.92 x 81.28 cm) recycled latex on wood panel
Algorithm 4. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 5. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 8. 2017
48 x 60 inches (121.92 x 152.40 cm) recycled latex on wood panel
Algorithm 6. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 9. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 10. 2017
Recycled Latex on 48 x 32 inch wood panel
Algorithm 11. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 12. 2017
48 x 48 inches (121.92 x 121.92) recycled latex on wood panel
Algorithm 13. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 14. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 15. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 16. 2017
48 x 32 inches (121.92 x 81.28 cm) recycled latex on wood panel
Algorithm 17. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 18. 2017
48 x 32 inches (121.92 x 81.28 cm) recycled latex on wood panel
Algorithm 19. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 20. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 21. 2017
32 x 48 inches (81.28 x 121.92 cm) recycled latex on wood panel
Algorithm 22. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 28. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 29. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm 1.1. 2017
48 x 48 inches (121.92 x 121.92 cm) recycled latex on wood panel
Algorithm .5. 2017
recycled latex on 18 x 24 inch canvas
Algorithm .6. 2017
recycled latex on 24 x 24 ince canvas