I would like to fill as many walls as possible with a painted galactic infinity before I take my last breath. When properly stocked, my Culver City studio serves as a spaceship. I have spent years learning as many painted marks and surfaces as possible, reverse engineering the great paintings of the last century.
Inspired by Gilles Delueze' Rhizome Theory of interconnectivity, I have shed all narrative content and am aiming to go out through my eyeholes and into the collective unconscious galaxy that binds us.
Cameras capture so much so well. There are still areas, I believe magic areas, that cameras cannot capture. These are the places I want my paintings to go. The great non representational paintings of post World War II were brought on by a great existential threat to our existence that sent painters where only they can go. I believe I have been sent to that very place by a post 9/11 world. I have worked hard to achieve a contemporary surface, that is not glossy and textured but deep, smooth, and matte. I have given up using oil paints, because I believe that the nostalgia and romance of oil paints was a distraction from the conversation I am trying to further.
My process is everything to me. I have been digging for years to arrive at a mark and a surface.
Since 2001 I have been developing my studio practice and material control to produce a mark and surface that has just come into focus at the beginning of 2011.
I have created a group of paintings that explore the magic of the mark. If I can isolate a few tremendous marks, and keep the depth of my paintings, I can make epic large scale paintings.
I am at work in my studio mining marks, and perfecting my surface, trying to see how large a mark I can make without losing the infinity and individuality of each square inch of surface. Studio visits by appointment.