curriculum vitae
education
master of architecture, university of illinois, 2000
master of business, university of illinois, 2000
munich germany study abroad, technische universität münchen, 1999
bachelor of science in architectural studies, university of illinois, 1998
versailles france study abroad, l’ecole d’architecture de versailles, 1996-1997
gallery representation
kyle hamilton fine art, miami, florida, 2023
fortom gallery, miami, florida, 2023
carriage factory art gallery, newton, kansas, 2018 – 2023
saatchi art online gallery, 2020 – 2023
hue gallery of contemporary art, wichita, kansas, 2019
exhibitions
“faces & places” exhibition, dodomu gallery, brooklyn, new york, 2023
“fluidity” exhibition, van der plas gallery, new york, new york, 2023
paris art week, jada art organization, paris, france, 2021
“a new beginning” exhibition, van der plas gallery, new york, new york, 2021
“line” solo exhibition, carriage factory art gallery, newton, kansas, 2021
“(re)line” solo exhibition, city arts, wichita, kansas, 2021
“outline” exhibition, art house 310, wichita, kansas, 2021
“nft art show” online exhibition, jada art organization, 2021
“foot in the door” exhibition, wichita art museum, wichita, kansas, 2020
“noir” exhibition, carriage factory art gallery, newton, kansas, 2020
“social distancing” virtual exhibition, jada, 2020
“in living color” exhibition, reuben saunders gallery, wichita, kansas, 2019
“nostalgapop” virtual exhibition, hue gallery + wandering masters art salon, 2019
“portrait(s)” exhibition, l’image, wichita, kansas, 2019
fairs
artexpo, new york, new york, 2024
the other art fair, brooklyn, new york, 2023
context, miami art week, miami, florida, 2023
hamptons fine art fair, southampton, new york, 2023
superfine! art fair, miami, florida, 2023
superfine! art fair, new york, new york, 2022, 2023 , 2024
jada at art basel, miami beach, florida, 2021
haute pop up, tiffany farha design, wichita, kansas, 2021
the other art fair, dallas, texas, 2021
autumn & art, wichita, kansas, 2020
superfine! art fair, washington, dc, 2019
jada art fair, miami beach, florida, 2019
mulvane art fair, topeka, kansas, 2019-2020
art fair, wichita art museum, wichita, kansas, 2019
the workroom artisan market, wichita, kansas, 2018-2020
public art
avenue art days, building façade mural, wichita, kansas, 2019
alley doors, vinyl applied print, wichita, kansas, 2019
keepers on parade, painted fiberglass sculpture for the workroom, wichita, kansas 2020
celebrate the
scribble
an element that governs, that organizes, that artificially and naturally shapes nearly all reaches of the human experience―from geographical phenomenon, to national and city borders, to physical infrastructure,
to electronic connectivity, to music, to dance, and to parades,
to architecture and the construction of our bodies, and (not absent the chronology of our own living timelines) to the four dimensions we meander within―it is the line that has been adopted, exploited and is the most conspicuous part of the work.
the line―the framework for the art―prevails as one of the oldest and purest forms of mark-making. relying heavily upon both the circumscriptions and the gestural wanderings of linework, the paintings are a celebration of scribble, with many of the works being composed by a single, continuous line. in conjunction with a nearly paint-by-number application of color and texture, the pictures—contrived of doodles—are childlike, yet attempt to simultaneously exhibit an air of technical tightness. the predecessors of the actual paintings―an accumulation of sketches―are occasionally created with a specific image in mind, but many are not predetermined and are instead birthed by the swift impromptu movement of a pencil on paper. these sketches, in all cases, are not subliminal in nature; rather they are a conscious act of drawing.
with no intentions of being esoteric or fraught with deep-seated riddles, the process of creating a picture nevertheless concludes with a manufacture that may embody some underlying meaning(s). perhaps the work is haphazardly navigating between the manifesto of metamodernism and the creed of art for art’s sake, between meaning and unmeaning. and of the latter, it may be impossible to establish an altogether vacancy in meaning, as art, as an import of feeling, as a symbolic device, as an exhibitionist to an audience, will struggle to keep quiet no matter how hard it tries. regardless, what is most important is that whatever narrative shall associate itself with the picture being offered, it must be the consumer, not the work’s creator, who is the author.
