<Non-Specific Gravity
Ink and acrylic on wall in "Wall Works"
at The Painting Center, 2011
A Statement About the Work
The actual production of my work involves the combination of different types of painting and drawing—grids and lines, a type of automatist scribble; dripped paint as another kind of line; patterns overlaid and underneath; and washes of color, both transparent and opaque. The linear elements shift between surface and deep space, binding together concepts of time and process; the “content” encompasses metaphors for both physicality and memory. Pattern exerts itself, and then recedes. Working one layer of marks against the next, they are transformed through a history of process. Intuition and geometry relinquish the struggle for supremacy in favor of a unified whole.
The work derives its energy from the tension between the interplay of formalist concerns and the emotional possibilities of abstraction, the moment–to–moment shifting of emphasis between the deliberate “intention” and the accidental “event”. Tension is provoked by oppositions: of layered imagery with flatness, kinetic energy with slow reading of subtle effects, deliberation with purely physical properties of the materials, corporeality with temporality, and the nature of memory.
In this latest series of drawings, I am working with a warped and flattened matrix, and have loosened the hierarchical x/y lattice to the point of collapse. Lines combine to suggest loose ‘grids’, or a type of track, that through repetition produces a sense of ‘pattern recognition’, proffering literalness without pinning itself to representation. This exchange between metaphor and object sets up a dialectic tension of ontological identity.
Ink and acrylic on wall in "Wall Works"
at The Painting Center, 2011
A Statement About the Work
The actual production of my work involves the combination of different types of painting and drawing—grids and lines, a type of automatist scribble; dripped paint as another kind of line; patterns overlaid and underneath; and washes of color, both transparent and opaque. The linear elements shift between surface and deep space, binding together concepts of time and process; the “content” encompasses metaphors for both physicality and memory. Pattern exerts itself, and then recedes. Working one layer of marks against the next, they are transformed through a history of process. Intuition and geometry relinquish the struggle for supremacy in favor of a unified whole.
The work derives its energy from the tension between the interplay of formalist concerns and the emotional possibilities of abstraction, the moment–to–moment shifting of emphasis between the deliberate “intention” and the accidental “event”. Tension is provoked by oppositions: of layered imagery with flatness, kinetic energy with slow reading of subtle effects, deliberation with purely physical properties of the materials, corporeality with temporality, and the nature of memory.
In this latest series of drawings, I am working with a warped and flattened matrix, and have loosened the hierarchical x/y lattice to the point of collapse. Lines combine to suggest loose ‘grids’, or a type of track, that through repetition produces a sense of ‘pattern recognition’, proffering literalness without pinning itself to representation. This exchange between metaphor and object sets up a dialectic tension of ontological identity.
