I paint because I enjoy pushing against the restrictions it presents, and I am committed to making a sensory window that creates an experience for the viewer.  In order for painting to stay relevant, it must present unique and potent dialogues that strive to engage the viewer through innovative ways.  I feel most akin to the Neo Figurative movement, as it applies to recent explorations in figurative painting as well as in Mexican works where the term was coined.  Although my work strives to portray the human condition in 2017, and leans toward vibrancy in color, I do not design my work to be assigned to a style that has been pioneered by another in art history.  A major part of my approach is to make paintings that are as far removed as possible from what I am seeing in shows around me.  I want to avoid making work about dated ideas that are now passé, and focus instead on keeping the impact fresh.  It is important that this impact be felt through the intensity of the palette, the dynamic of the composition, and the physical shape of the work.

                The viewer’s interaction with my work in the space it occupies dictates my design process.  Two examples are the focus on installation in the poliptych Rook, and the perspective used in the Untitled series.    The Rook panels come out of a corner, creating an environment the viewer can walk inside, completely enveloping the peripheral vision.  The scale of the work allows the viewer’s place in between the canvases to engage the narrative.  The subjects draw from the Pop inclination to classify personality types as either pirates or ninjas.  The installation embellishes the two types of icons, plotting against each other under the pressures of military exercise.

The Untitled works, which I now call Human Specimens, place the viewer underneath of a sheet of glass.  The subjects of the series are pressed between what reads as the picture plane of the painting, and an implied sheet that creates the pressing effect one would see in slides.  I have made a conscious decision to address social, political, and economic issues through my work since this past election year. These works have moved from attempting to represent a narrative space, to paring the narrative down to just the human components.  The theme that connects these pieces is pressure.  My work is informed this friction because it forces the figure to react.

Education

Masters of Arts in Teaching, May, 2002

Bachelors of Fine Arts, Painting Major, May, 2001

Maryland Institute College of Art, Baltimore MD 1999-2002

 

University of South Alabama, Mobile AL 1997-1999

Concentration in Fine Arts

Certifications

-International Baccalaureate Middle Years Program, Levels 5-8.

-Professional Educator Certification, Class A, Elementary-Secondary (009) Grades P-12Art(001)(Maryland)

February 1, 2006

-Professional Educator Certification, Class A, Elementary-Secondary (009) Grades P-12, Art (001)(Alabama)

March 4, 2003

 

Professional Teaching Experience

 

-Atholton High School, Columbia, MD-Teacher

            Teaching Grades 9-12 Studio Art 1, Exploration Of Media Art 2, AP Art History. Mentoring Advanced Students.

            2008-June 2016

·         Sponsor of the National Art Honor Society 2008-2014

·         Co-Sponsor of the National Art Honor Society 2014-2016

·         Sponsor of the Gay-Straight Alliance 2011-2013

·         Organized Empty Bowls Dinners that raise money for Grassroots crisis intervention center.

 

 

-Baltimore City College High School, Baltimore, MD- Teacher

            Taught 9-12 Drawing and Painting/ Advanced Drawing and Painting

            2005-2008

·         Wrote the Middle Years Program curriculum for City’s IB certifications

                       

-Erwin High School, Centerpoint, AL- Teacher

            Spring Semester, 2004-2005 school year

 

Park School, Baltimore, MD- Teacher

            Taught Grades 8-11 in Art Units for Art Immersion Week

 

 

Group Exhibitions

 

Erotica, Gallery 788, Baltimore, MD 2015

Teachers as Artists, Howard County Public School System, Central Office, Columbia, MD, October 2014

Zachary Titford and Tim Byrne, The Altamont, Baltimore, MD, April 2013

School 33 Presents: Baltimore Open Studio Tour, Baltimore, MD, October 2012

Teachers as Artists, Howard County Public School System, Central Office, Columbia, MD, October 2012

Teachers as Artists, Howard County Public School System, Central Office, Columbia, MD, October 2010

Teachers as Artists, Howard County Public School System, Central Office, Columbia, MD, October 2008

Iraq, Gulf Artspace, Fairhope AL, December 2005

Homecoming, Eastern Shore Art Center, Fairhope AL, December3006

Home, Gulf Artspace, Fairhope, AL, May 2005

Teachers by Day, Artists by Night, Birmingham Art Association, Birmingham, AL, May 2004

Southern Currents, Centre for the Living Arts, Mobile, AL, November 2003

Up and Coming Artists, Eastern Shore Art Center, Fairhope, AL August

Mobile Arts Council Juried Exhibition, Mobile, AL, May 2003

New Faces, Gulf Alternative Art Space, Fairhope, AL, April 2003

From The Heart, Gulf Alternative ArtSpace, Fairhope, AL, February 2003

 

Solo Exhibitions

Electron Micrographs & Sleeper Cells, Koffee Therapy, Baltimore, MD, May 2013

Keep it Concealed, Nordys Gallery, Birmingham, AL, April 2005

Lighting of the Trees, Lyons Share Gallery, Fairhope, AL, Nov. 2004

The Distance that Blurs, Nordys Gallery, Birmingham, AL, April 2004

Safe Passage, Lyons Share Gallery, Fairhope, Al, May 2003

 

 

 

Awards

Mobile Arts Council Juried Show, Third Place

Masters of Art Teaching Scholarship, 2001

Study Abroad Scholarship, 2000