I like to define painting in a broad manner. In my definition, it can refer to non-rectilinear forms, objects, and even free-standing structures. Recently, my paintings have been an exploration of materials and the potential object-ness of paint. Since the majority of my materials are found, they come with their own histories, forms, and material qualities. I exploit these to see how far painting can be pushed. Control is also an underlying theme: imposing control, relinquishing it, and then again enacting it upon the paintings. The work is an exploration of process, an investigation of material manipulation, and an examination of space.
Process is integral to my work as each piece comes to fruition under its own collection of preliminary rules and limitations. This can be a limitation of the materials themselves (found wood already cut into shapes) or limitations I impose on the work (choosing not to mix colors or transform the materials in any significant way.) These guidelines give me a starting point, a place in which to act out my desire for control -- they do not necessarily determine the outcome. Once the work has begun, chance takes over and I allow the materials to act as they naturally do. Experimentation and play are essential components to the work.
Material integrity is important. I take care to use my materials honestly without manipulating them past the point of recognition. The paint will always be paint and the wood will always be wood. I think of these materials as puzzle pieces, trying to come up with the best solution of how to fit them together. Each piece plays a role in the structure of the painting. The drip becomes a support beam, a pedestal for the painting in addition to its contribution to visual aesthetics.
The paintings exist within space rather than solely on the surface of a wall. They implicate the viewer by forcing them to respond to the presentation of the work. This can come in the form of pieces extending off the wall or the viewer having to walk around the painting. This can even happen in a voyeuristic manner where the viewer must peer around and into the work purposefully to be able to fully see.
I’m interested in how these various elements can be manipulated and combined as I continue to explore the potentials of my materials and how they exist within the context of painting.