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My
current practice is a response to the modern painting canon. The paintings
employ fragmentary pictorial elements
and investigate the processes and limits
of assimilation, assignation and reference. The work uses the materials
and techniques of modern painting -oil on canvas, watercolor on paper- while
exploiting the strategies of contemporary mash-up culture, sampling readily
available on-line resources for rough picture clippings that retain only the
most basic visual information of the originals. By painting multiple iterations
of these fragments, I remove these images ever further from their sources—the
images evolve. Faithfulness to the
originals is impossible; imperfections compound. These iterations are edited
into a composite painting. Bits and pieces of paintings never meant to occupy
the same picture plane or context jockey for space. Emphasis on completeness
and pictorial harmony is secondary to developing the often awkward relationship
between the parts and the whole. From these tensions and failures uneasy
paintings emerge—paintings that reference the familiarity of the original while
displaying sensibilities, biases and idioms that are distinctly my own.
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