My work reflects an ongoing interest in an intersection of painting and collage. My current investigations involve drawing attention between paint and the surface it is applied to.
In traditional modes of paint application, representation is usually determined at the moment of creation. For example, the movement of brushes on canvas and the forms they engender as a singular act. This provides the background for my departure from that tradition as a painter. With my work, paint is applied stroke for stroke on a peripheral surface, removed after drying, and reapplied to the surface of wood panel supports.
Paint sits literally on the surface of the wood panels which engender a pronounced foreground and background relationship since both planes exist here as parallel, not intersecting planes.
In this case, the relationship is simplified to demonstrate the background as wood grain surface, and foreground as strokes that sit upon its surface that unfold as a series of spontaneous developments.
These manufactured brushstrokes appear as floating, random, and ephemeral scrims through which to gaze at the background. The effect minimizes the traditional role of the brushstroke to representational goals and hopes instead to provoke an investigation of their own function and character.
(detail), 2010. Acrylic on panel, 36 x 48"