CHRONOLOGY
Born - 1960 Sacramento, lives and works in Los Angeles.
Education - 1990 MArch Yale School of Architecture, 1982 BA History of Art University of California Berkeley.
Solo Exhibitions - 2021 Homegrown National Gallery of the Cayman Islands, 2016 Median WUHO Gallery, 2014 Competing Utopias Neutra VDL House.
Group Exhibitions - 2025 hope you have a good time - polar opposites, 2022 Terra Botanica National Gallery of the Cayman Islands, 2019 Job Site Burlington City Arts, 2018 Vessel of Change Wende Museum.
Feature Documentary Films Directed - 2017 Project Impossible A+E, 2016 Panama Canal A+E, 2014 The Master Plan PBS, 2011 Aloha Buddha PBS, 2004 Lustron PBS.
Short Documentary Films Directed - 2013 Collecting Fragments Wende Museum, 2013-2016 Ten Days of Different Sundance Institute, 2007 Vladimir Ossipoff Honolulu Museum of Art, 2006 Eero Saarinen National Building Museum.
Experimental Films - 2024 Fire, 2023 Magnetotypes, 2023 Violin Racket, 2023 Screen Light, 2016 Vernon Food International Architecture Bienalle Rotterdam.
Publications - 2024-25 fret, 2024 Houseplants.
Grants - 2015 Graham Foundation Vessel of Change, 2014 Graham Foundation Competing Utopias, 2011 Graham Foundation Building Revolution, 2010 Graham Foundation Personal Infrastructures, 2007 National Endowment for the Arts Eero Saarinen, 2007 Hawai'i Council for the Humanities Aloha Buddha, 2007 Atherton Foundation Aloha Buddha, 2007 Alexander & Baldwin Foundation Aloha Buddha, 2006 Ann Arbor Foundation Up from the Ashes, 2005 AIA St. Louis Eero Saarinen, 2005 Witaker Foundation Eero Saarinen, 2005 Graham Foundation Eero Saarinen, 2003 Michigan Humanities Council Eero Saarinen, 2004 Graham Foundation Design Intervention, 2003 Graham Foundation Lustron.
ARTIST STATEMENT
I paint fleshy male figures in suburban spaces, where large bodies and conventional places become unexpected, ambiguous and complicated.
My figures are always subjects of control. In Houseplants, figures are compressed into their suburban spaces, literally stuffed into the frame of the canvas. In Airplants, figures expand out of suburban spaces, stretching their bodies, sometimes uncomfortably close to the edge of the frame.
My painting technique is bright and clear, making the image approachable, but also sharpening an underlying unease or contradiction in the scene. I refer to Social Realists from the former Eastern Bloc who frequently incorporated subtle contradictory meanings in their paintings, although I would not consider myself a realist of any kind.