My artistic process has been a journey from a conceptual bricoleur of kinetic installations into the physical studio of substance (wax, oil, water) and support. Where the former approach relied on much thinking and planning, the studio work requires a disengagement of self conscious thinking and a surrender to a faster paced physical activity.
My recent work uses paper and unconventional water based "paints", some digital imagery, occasionally bleach and wax. There is an element of conceptual game playing running through most of my work. An interest in scientific diagrams, map making, pattern and symmetry act as an entry point to my process of painting. When ideas, rulings, and initial guidelines become subsumed into the accretion of crust and puddles, and the painting becomes "something other" the pleasures and frustrations of accident and intention interplay until completion.
The "broken pattern" works exhibit an experimental "alchemical" use of metal powders, chalks, clay, graphite and water on paper. I often think of the works painting themselves as the water leaches out of the mixture, staining the paper as it dries between sessions. The "fingertree" diptychs were generated from manipulating a photograph of an earlier painting in Photoshop and over painting the digital prints with analine dye and natural stain. The gouache based paintings on wrapping paper were begun at an artist residency in Italy last spring. Pattern making and unmaking were facilitated by the unique translucency of zinc white.
The "vitrerie" series combines a mixed association of digital imagery, antique stained glass (vitrerie) diagrams, dyed paper (silver gray analine), bleach and wax. The bleach solution reacts like an eraser while cold pigmented wax is applied to select areas.
My new work will begin to leave the bounds of the paper format while continuing to reach further into novel concepts of pattern, memory and collage.