My recent paintings involve a process of pictorial dissection. Each composition contains multiple visual fields that contain pictorial impressions of places and objects; metaphorically relating these to broader symbolic themes.
Each painting is approached with a spirit of improvisation. Very little is planned or drawn beforehand. The images consist of fragmented concepts both real and imagined that give a sense of movement within a two-dimensional space. Information is layered and often stacked on top of patterns and color fields; creating rapid visual changes. Paint application differs in areas of the canvas; it can be additive or subtractive, painstaking or expressive. Each painting is carefully “built” and is constructed almost like a puzzle.
The paintings evolve according to an individualized process that involves constant editing. This process relies on the intense hues, plasticity and quick-drying properties of acrylic paint. Each painting has layers and layers of painted imagery under the finished composition. This “editing” process feels natural to me, and seems to heighten the tension within each composition. Even the smallest painting may take a month or more to complete. In terms of hours spent working in the studio, each painting usually has 50 hours or more invested. These compositions are not easy to create. The process is laborious and introspective; 10 paintings may represent 2 or more years of steady work. I paint one painting at a time until it feels finished.