I’m interested in the ways in which the material qualities
of both surface and paint build a painting, and the ways in which the bodily
act of painting informs gesture and therefore mark-making and composition.
I begin by spending time in a site, paying special attention
to the way my body responds to and moves within that place. Those physical
responses inform the gestures that I choose when I work against the surface of
a painting.
The objects I construct as my surfaces have become
increasingly specific and important over the past year. Recently, I have
discovered that material is linked to time; that sense of time is in turn
linked to movement of the body, within a place and across a surface. While a
slick metal might easily express fast time, and fragile paper a slow time,
these relationships can be inverted through gesture. Thus, a metal surface can
reveal trickling temporal experience, a sensation against its nature and
reliant upon my body’s relationship to the surface as I paint.
The paintings themselves combine bodily mark-making; paint
applied, examined, and contrasted in differing forms and conditions;
revelations and intrusions of the surface; and alien marks.
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