"All that is solid melts into air, all that is holy is profaned"

                                                                                                      - Karl Marx

      A resource being extracted,

                                                     is bound to please

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      Shellac glistens like sweat against pigments, sealing phthalo blue, bone

black, cobalt, chromium green, earth pigments and gold into wet, breathing

surfaces. The artist’s blood is a sacred and unstable pigment. Calcium—broken, chalky, bone-like, is suspended under the gloss of beetle shellac. Everything is for sale.

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  These materials are bound together,

                                  somewhat unwillingly suspended,

                                                                          under pressure,

                                                                                     flesh and earth

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      (*Chromium Green, the pigment used in dollar bills, camouflage, resistant

to heat and light; stable). Dark color lures you in, then turns unyielding. Surfaces shimmer like skin in low light, then cut like glass. Feral desire melted into forest loam, the scent of rain in a data saturated landscape; eco-violence. Humans have a stronger ability to smell petrichor (the scent of rain) than sharks do blood, yet, we eat with knives and forks.

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      (*Pyrrole Red, the pigment known for the 1970s Ferrari Rosa Corsa; warm,

      lightfast, stable, impeccable performance. Surrounded by earth pigments.)

      Sometimes bound in silk, these paintings move between the oil black,

dense, lush, abrasive, intimate, extracted, seductive lichen like forms. Leaves,

forest canopies and bones, insect and mineral, the erasure of topographies

alongside the insistent pull of desire and sensuality. These works ache for

collision; animalistic desire suspended in a flattened realm. In the stillness of

shellac, calcium and minerals are bound, like bodies laying alone in separate

rooms, waiting for something that may never come.