Artist statement: Alignments
For me, painting is a slow and durational method of comprehending and interpreting the world. I build images for that narrow delay between sight and perception, between looking and seeing, when color and texture are in service to gestures that mesh process with content.
I employ an architecture of organizing lines that weave color, divide space, and suggest shifting densities of light and shadow, movement and other aspects of the elemental world. These incremental strokes are applied by dipping pieces of wood into paint and striking the painting’s surface with approximate repeated gestures. Through this application, pattern gives way to a tangle of layers, discrepancies, disruptions, lopsided symmetries, misalignments, gaps and glitches within a set of conditions that may not easily reconcile as form.
These paintings are a visual conversation between fragmentation, compression and alignment that work to un-focus the eye and keep it in a constant state of vibration, to induce a semi-meditative state of contemplation and the synesthetic experience of a feeling gaze upon tactile paintings. Within this state is a realm of belief that a process can somehow become a painting, and a painting can become a place, a person, a word or phrase, a wish or vision for the future, a memory or a record of something forgotten. It’s a combination of thought, emotion and movement, and it’s made by and for the senses.
For me these alignments represent the radiance of biological perception and cognition, language, memory, and the presence and absence of the figure and its attendant identities and energies. Collectively, they are meditations on personal and universal mythologies, acts of transformation, and discovery and loss in the natural world.