The narrative features of my latest work are highly influenced by a contemporary version of Dante’s Divine Comedy.  The three part storyline containing visions of Hell, Purgatory and Heaven have been laid out in a kind of brief visual collage.  The allegory of Hell, Purgatory, and Heaven are now seen in more abstract spaces displaying some evidence of a more contemporary staging.  Each frame is never explained in full detail, but explored in a sort of flash of time or a moment of subconscious thought.  This split second unveiling of an inner psyche works on creating vulnerability to the paintings, and in a way to the painter.  The ambiguity of the imagery should not be dissected, but placed in view for their overall emotional representations. The emotional representations can become a focus of primitive source material in that they exist without further explanation.  It might be similar in the way we perceive and express memories through painting.  They can be displayed in primitive or raw form because they are what they are.  The reactions to the source material, whether it be through emotional representations or memory is what makes the painting a gesture of the artists inner psyche.  The memories and/or emotional representations may be then translated into visual form within the paintings.  In my work, I have found that the memories can be described as both photographic images and time lapsed blur.  The memories don’t just work off of their visual characteristics, but also how they feel and what they do, or even how they move.