Painting is a visual music. I categorize my paintings into albums and consider each painting a song, a song that comes into focus. Through color and motion, my paintings evoke a tone and rhythm, or a silence and stillness. Collectively, they elicit a journey through expression and impression.
In the studio I am an excavator unearthing combinations of things. Through repetitive activity, these combinations snap into place as compositions. I often begin with ideas of landscape, and then continually work the surface with color towards abstraction.
I use the color black as a base color and as an amplifier of other color. Black is line, or depth, or the void.
The line between reference and abstraction is infinite. Sometimes my paintings veer towards concrete reference, as a means toward resolution. But I prefer to live in abstraction.
Combining squares into larger squares and rectangles generates a modular playground of relationships between edges, like a puzzle. This approach leads to a solution that supersedes whatever my original concept may have been.
I paint on styrene because of its transformative properties. In its original brittle state styrene can be snapped and broken into organic shapes with interesting edges, and then layered into relief. On its surface styrene provides tooth to grab paint and resistance to its application, enabling the development of touch with the surface. With repetitive activity styrene soaks up paint and transforms into a slab that feels like it could have been excavated from an ancient wall.
Drawing with water allows for the loss of some control by means of chance. It is older than science and transfigurative.
Painting is an act of construction and destruction. Sometimes it is necessary to modify, paint over, destroy, the precious part of a painting to unearth the mystery in-between.