The work I’ve done so far depicts the emotional landscape of my childhood as I remember it—a blur of color and movement flashing by the static iconography of the past: the company houses where the roughnecks lived, old-style telephone poles and pumpjacks. And enveloping that landscape, out of balance in scale, space, and perspective, are these figures that seem to dominate and subdue, not with violence, but with curiosity and playful interaction. Interrupting the flow of abstract shapes with simple flat black and white houses and telephone poles breaks the viewing pace, as if a light bulb pop across the setting of the implied narrative —pulling the viewer into a space undefined where they can figure out the story or pretend a new one.
