Using the building blocks of housepaint and acrylic on canvas, I have attempted to construct a roomful, at once expansive and claustrophobic, of cairns—burial mounds, directional markers and, here, masses of poured paint that initially create and ultimately lay to rest their own inherent problems. In this way, to me, the cairns are painted embodiments of an answer to the question: “How do you know when you're finished?”
Both in process and in product, the cairns reference an abstract expressionist sensibility, albeit one greatly slowed down—these are action paintings, but the action takes place over months, rather than in a blink; in hundreds of applications, rather than in a flung flurry. This long-deferred finality results in objects greatly solid, although not quite still. At once both wall-bound and sculptural, these pieces are meant to test definitional relevance by managing to exist in two places at once—-both on and off the wall—and, I hope, rewarding the attentive viewer with a parallel experience.