Tell us a little bit about yourself and what you do.

I’m an artist from North Texas, currently living and working in Chicago. I co-run Point Blank, an artist-run gallery and project space in West Town. When I’m not working, I’m working on playing.

How did your interest in art begin?

My interest started young. I grew up making art and was passionate/encouraged enough to continue to pursue it. My first real passion was painting skyscapes I would see in the plains, it wasn’t until I moved to the city that my interest expanded to include the historical/cultural functioning of art.

What kind of imagery are you drawn to?

I’m particularly drawn to imagery that communicates a sort of group mythos, whether it be of a subculture, political ideology, or geographic region. Coming from a part of the country that is so permeated by nostalgia and American exceptionalism, I think a lot about myth making and idolatry. Because of that, I gravitate towards a lot of antiquated commercial images like television, pin up illustrations, and advertisements as a jumping point for many of my works. Less so as a true depiction of a time or culture, but as an opportunity to reframe and interpret ideas that feel so pervasive or imposing.

When it comes to portraiture, I’m especially interested in depicting reckless, resilient images of women, most frequently in sport, because of the contrast they provide to a historically male sensibility of danger seeking and self-determination. I also love anything cute, and I like to leave room for that in my work too.

What is something that continues to influence your work?

Music has been a huge active and passive influence in my work, particularly country and American folk. The genres have such a unique sense of humour and emotion, as well as historically being in tune (no pun intended) with current political and technological change. I gain a lot of inspiration considering a visual equivalent to this kind of layered, generational storytelling.

Is there a phrase or idea you can think of that feels especially relevant to your practice or that resonates?

Most of my work starts from some sort of phrase, whether it be a quote from what I’ve been reading or listening to, a saying/word that I can’t stop thinking about, or a sign I see outside. Lately, I have been reading Sontag’s On Photography, a lot of ideas from that have been top of mind.

She brings up a Talbot quote, where he characterises the camera as having a “special aptitude for recording ‘the injuries of time.’” As an artist who frequently references photographic material, I’ve been thinking a lot about that, and what it is that painting, drawing, or any other medium are uniquely able to record that photography is not. Additionally, I depict a lot of real photographed injury, so that’s another way the phrase felt especially relevant.

How has your ongoing curatorial practice within Point Blank influenced your approach to artmaking?

I think it has made me much more considerate of creating larger bodies of work, and working on a longer time scale. Where previously I have worried about pigeonholing myself creatively, or wasting time not knowing what the result of a project might be, I have come to think as a curator it is much more interesting to see what happens when an artist fully devotes themselves to an inclination or idea that they have, and then sees it to a creative end.

More significantly though, my curatorial practice has kept me continually inspired and making, through constantly working with artists, engaging with the community, and thinking about what we want to see happen more broadly for art in Chicago. I have also found Point Blank to be such an exciting art practice in and of itself, with so much room for creativity and experimentation within the medium of an exhibition. Going forward I hope to be able to push that more and more with our upcoming projects.

How important is experimentation in your work?

Experimentation is a central part of working for me. I think having a multidisciplinary approach lends itself to a lot of learning and experimenting for each project, so naturally things end up having many iterations. For better or for worse, I feel like I am learning more than I am making in an informed way most of the time.

What is something you’ve always wanted to do and are working towards achieving?

I’ve never been able to grow a fruitful strawberry plant, so that’s something I am contending with this summer.

Could you share a current, or upcoming project you’re working on?

I am currently working on curating a strictly digital/new media exhibition at Point Blank. It’s an idea I’ve wanted to bring to life since we’ve opened, and I’m excited to involve the gallery in a conversation of this kind. So look forward to more about that this fall.

What do you collect?

I have collections of enough kinds that I reflect on the line between avid collecting and pack rat-ism regularly. Most notable by far though, I collect stickers and physical music. I also have the envelope of every letter I’ve received, and only keep them because I feel there is an artwork in there somewhere that I haven’t figured out yet.

Interview by Paul Fitzpatrick