Painting is how I navigate the spaces between body and imagination, past and present, self and other, memory and “truth.” Paint is, for me, an ointment, which I use to mediate the space between these sets of potentially oppositional considerations, and make them relative to the body. Current pictorial images arise from the concept of subjectivity. They reference geometry, architecture, scaffolding, ruins, and sometimes become deconstructed into lines. Images emerge, repeat, and forget themselves back into the paint. I use a rule-based process, which requires multiple layers of paint, and strict adherence to submerging pictorial images under the ointment. Increasingly, the imagery is subsumed in the inherent language of paint.
The repetitive practice of laying down layers of paint, drawing the images within and between the layers, and then repeating the procedure, makes physical the thought process itself. The tension between decipherment and embodiment, and the provocative space between the two, informs and inspires my inquiry.