A young boy stares into a white porcelain sink, drops of blood fall from his nose. The drops slowly run toward the drain forming streaks of black, orange, and red against the pristine white surface. Mesmerized by the bright colors before his eyes he pauses only as he feels another drop leave him to join the scene below.

Many artists pour their emotions and ideas into their work, establishing their presence within it. I not only pour my ideas and emotion into my work—I pour in myself. I am physically present in my work. I am the paint.

My blood is applied in multiple coats and thin washes to create a vast range of tones. A complex variety of chemicals used to treat and preserve the blood with cause a shift in hue. Far from resulting in the monochrome red palette one might expect, my self developed process creates a broad range of hues ranging from deep rich reds, soft subtle skin tones, and even a faint violet. In addition to the blood the only other color used is a black resin and a white resin – most commonly used on drapery.

Simultaneously attracting and repelling the viewer, my work holds a presence within the medium itself. I employ this potentially violent medium to incredibly delicate ends — activating blood’s humanist resonances, rather than its horror film associations. When the subject is taken into consideration alongside the material, a higher level of meaning is obtained. The blood compliments and enhances the subject matter of the human figure.

I use the physical human element – the body’s own ink, to replicate the human form in a way both beautiful and thought provoking. My work displays the complex beauty of the human body, translated literally in the increasingly temperamental medium of blood, and through this unconventional material breathes palpable life into each striking composition.