186,000 Miles Per Second
A focus on the visual in “visual art” is my starting point for exploring the process of perception and cognition within paintings that present interactions of light, color and space in clear, unified configurations. The iridescent interference acrylic paints that are used have an intrinsic complexity in their ability to change color as a result of external lighting and viewer movement. This characteristic immediately suggests new possibilities for the analytic-cubist problematic of multiple views occupying the same space. Through their extreme translucence, the interference polymer allows for multiple planes of color-shifting pigment to intertwine within an also shifting space so that the 2-dimensional design and the literal, 3-dimensional layering alternate and combine, or, become other, less definable spaces. The critical contribution of external light and viewer position begs the question of exactly what is inside and what is outside the painting. As a way of exploring this issue, drawing and composition are derived from the paintings shape, proportion and outer-edge, where subtle adjustments locate color-bands within or beyond the perimeter. The drawing in my work is an ongoing extension of an early, strong interest in “all-over” composition and its’ contrast with “hierarchical” composition. It is a major issue in analytic cubism, where the brushwork grid and fractured rendering blend foreground and background, as well as Jackson Pollock’s “classic” drip and Frank Stella’s early black stripe paintings. In my paintings, regular patterning and hardedge geometry serve as a containing, counter-point to the amorphous, open quality of the paint. Stella once spoke about how in his work "What you see is what you see", and that, ideally, he would limit the viewing of his paintings to just a few seconds. My paintings, in contrast, emerge slowly, as light changes occur temporally, while, in a seemingly organic process; time becomes a part of the fabric of the work. This unfolding experience makes these paintings inherently intimate images that are also, by default, impossible to mechanically reproduce.
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