Incongruent with their sexuality and in the ruins of Ian Schrager's POP culture bastion, the figure's psychology and physical are imposed upon by the conduits of the room. The conduits come with a cost. It is this pay to play attitude that has heralded the collapse of POP culture and the way we interact with each other. In this wake lay bare the consequence of vanity. 

     Oil paint is used as a means to facilitate this vanity. Because of this medium's origins depicting luminosity, a being's inner light, it eventually gave way to lux lighting, a vein exterior light directed upon a subject as a means of throwing light and casting shadow. It is on this turning edge of light and shadow where my work begins. Rather than directing a singular lux light source, two polarized light sources are projected as a means of pressing shadow over form. This works best when the figures's limbs are protruding into the viewer's space. 

     Above all else the appearance of my paintings seize concept.  It subordinates it to it. This is achieved by building a formal anatomical structure that the viewer won't immediately see, but will sense its presence. The resolve is a fully saturated, smooth, stable painting. They are large, designed to be taken out of context by being carried down the street for show, seen in motion pictures, galleries, museums, public spaces, and private collections. 

      Finally, the paintings take about two years to dry. At that stage they will be varnished in high gloss. I choose this because the gloss creates a space between the viewer and the surface of the picture plane. This evokes a sense of time, but also because I think they look better. High gloss varnish lends a perpetual wet look to the painting similar to dark hair with gel in it. It is a visual spectacle that can only be appreciated in the presence of the actual paintings.