My work is grounded in an inquiry into the materiality of paint, memory and process. To me, paint is an ointment, and I use it to mediate the space between oppositional considerations, like past and present, or remembering and forgetting. I use a rule-based process, which requires repeatedly submerging pictorial imagery in new layers of paint, connecting the thoughts with the ointment.
The pictorial images arise from the Lacanian concept of subjectivity, and reference architecture, furniture, constellations, shopping carts, cages, scaffolding or thoughts. They emerge, repeat, and forget themselves back into the paint. Sometimes these images are apprehended on the surface of the paintings, and sometimes they are below the surface. There are many layers of these sketches, like the ruins they (also) suggest, drawn, scraped, incised and otherwise placed between layers of paint, as embodied memories. There is a sense of peering into the paint when encountering the paintings in person, and the history upon which the top layer is placed is keenly present.
The pictorial imagery teases out references to structural device and experience while the painted surface suggests a dimensional archaeology of thought and paint below the surface. The repetitive practice of laying down layers of paint, drawing the images within and between the layers, and then repeating the procedure, makes the thought process physical. The tension between oppositional considerations opens a space for the viewer to enter the work, to make meaning, to consider the language of paint.
Santa Fe, NM