Techno-baroque is the word I use to describe my still life drawings. “Baroque” because of the density of visual information. “Techno” because of the integration of technologies such as photography and Photoshop into my process, but more so because of the images’ visual electricity. An unnatural glow, hyper-saturated color, and impossible distortions of space mark these works as products of the digital age.

Still life as a genre probes the weirdness of existing as a thing observing other things. I cannot deny allegations of symbolism in these pseudo-figural tableaus. They are riddles as much as they are psychedelic explorations of light and color.

Photography and editing are an integral part of my process, both as rapid-fire compositional experimentation and a way of distorting space with Photoshop’s blundering hand. But a photo connotes reality—tampered with, but nonetheless physical. A drawing declares itself as artifice. Just as sight is an illusion of biology, simply the brain’s way of interpreting light waves, representational art is a layered illusion.