I consider these works, "Depressive Realism", a term adopted from the 1970's psychological hypotheses that the depressed individual has a more accurate depiction of reality and themselves than the non-depressed individual. This term also carries a satirical reference to the "ism's" of art history. What attracts me to this is not the pessimism involved, but rather the undetermined origin of the experience (does the depressed perspective create this view of the world, or does the depressed state of the world create this perspective?), such paradoxes in cyclical thoughts remain reflective of life itself. Here, the enigma of life finds formal elegance in the elegiac poems of visual language. The works are equivocal equations of human debility, layered with suggestions, associations, connotations, and self- references. Both, the way into the work, and the way out is dependent on dissection and the consequent pursuit of context clues. Much like the interpretation of a dream, one must first find their bearings in order for relationships, themes, and motifs to become apparent. If one attempts to greedily ascertain meaning in a glance they will be left with only the stale taste of formalism. I use material as metaphor and no inclusion is desultory. Similar to alchemy, everyday objects and materials are combined to become consummated and transcend their mundanity . However, constant attention is called to the materiality of the art object and it's honest inabilities. Down to The very sub-straights that these compositions are constructed on there is a hap-hazardous handling at play that suggests the constant white noise of the shoddy culture values consistently humming beneath "Civilized" societies. Somewhere between sculpture and painting, these works exist on a curious plane that we might enter as viewers, escaping our affixed character of life, or who's very real and physical presence as art objects might magnify and annunciate our tangible, and temporary presence in here and now. My interests lie in philosophical contention and the dialectic created by dichotomy (detached, controlled formalism vs personally impassioned impulse, intangible denotation vs the finite physicality of the art object, and experiment vs experience, so on). Though a work may be personally motivated in its creation and content, every work has an undeniable undertone of the universality of human experience.