To me, these paintings are remnants of a performance. That is to say, a performance of the translation between thought and the marks made. This is a process that distorts and reveals different forms.
These paintings are to dance between a mechanical and organic nature, and create a sort of neutrality with strong opposing forces balancing each other out. There is to be a variety of elements that are both unique and similar which creates a tension and energy.
I think most people will see people in the paintings, as that’s one of the things the brain is best at recognizing. However, I tried to make them without direct signifiers. I like to think of it as writing without anything to write about.
What attracts me most to art is its in part non-utilitarian nature. It can be functionless yet still of worth. There is a non-didactic message, which is to say there is no A to B; rather an A to more than a whole alphabet of responses. From my point of view these pieces do not “mean” anything in particular, though an overload of colour and or shapes is meant to convey a busy harmony or that of a beautiful mess. I also find that there is a rhythm to these works that lends them to an almost musical quality.
One of my goals with this work was to make as many marks as I could while still being satisfied with the overall effect of the paintings. Each new mark is a response to the ones already on the canvas. They build upon themselves and a crowd of gesture is formed.
These paintings function like clouds; a skeleton where meaning can be placed. All the pieces are present to create a cohesive image, but the real image is created when the viewer amalgamates faces and objects from the work. In this way the works are interactive, as the viewer participates by injecting the meaning into the work.