Selected Paintings, 2019
This year my painting process was really guided by a rigorous devotion to working in the studio. My most recent work seems to be drawing on the myriad techniques and processes I’ve developed over the years. I’ve consciously tried to abandon the idea that my work needs to adhere to some imagined narrative, whether stylistically or historically. The individual paintings presented in this project are more unique expressions unto themselves. As my methods continue to evolve and complexify, the paintings reflect this. Some of these have taken me much longer to resolve. Others seem to get to this place more quickly. I’ve been striving to recognize and trust this moment regardless of whether it comes after weeks and months of struggle or after one lucky pour. Trusting this process has been a focussed effort in 2019.
I was fortunate enough to show a selection of work from 2010-2019 at the Park School in the fall of 2019. I think that curating this diverse group of paintings together has definitely influenced my desire to allow my most recent work to resist the notion that I have to stay on any given path. Here’s the statement from the group exhibition:
My paintings showcase the co-authorial role that water has as an instrument in my artmaking. Water shapes things. It erodes and transplants; it pools and it dries away. It conspires with the ground to carve and bend and draw the landscape. The paintings exhibited in “Creative Process” at The Park School offer a wide angle view of my process over time and highlight the myriad places it’s led me over the years.
This process has always been a collaboration between artist and material. Poured acrylic paint is manipulated not with a brush but by tilting, turning, and rotating the painting itself. It also involves the application of water at varying strengths to either forcefully remove layers or to gently influence the behavior of the paint after it’s been poured.
Although I mix and test the paint to control its color and temperament, every step in this process yields something unexpected. I remain open to chance. When my expectations are betrayed I'm forced to reassess and that's often when growth occurs. The initial painting is eventually covered over but each layer is a reaction to what came before--a collective history of decisions and compromises, triumphs and failures. The finished painting is something like a symphonic moment suspended in time--a silent and static record of events with a significance that's activated by your unique experience of the work.
I’m a participant in these pieces, pivoting with the unpredictable nature of fluid paint. But mostly I’m an observer, gazing at the material flux.