2007
Disaster Landscapes & Flesh Disasters
In addition to form, social consciousness leads to content. I am influenced to paint landscapes of disasters. Paranoia about disaster plagues contemporary society, and the image of disaster is an inescapable iconography. I address fear, a historical constancy that is amplified today. My process echoes this timeless disaster imposition by appropriating traditional and contemporary methods. Although I paint disasters, I avoid imposing a political agenda. My imagery reminds viewers to further think about concerns they already hold, allowing my concentration to be form.
I am presently investigating means to translate the essential feel of a disaster through my materials. To capture this feel, I am experimenting with the mediation of potential and kinetic energies in the hope of achieving an innovative juxtaposition of energies. To explore merging these energies I study the qualities of my present work. My etchings possess refinement that implies movement and expansion in space and time, causing a meditative energy, whereas my paintings convey instant energy from my application of paint. To incorporate the contemplative energy of my monochromatic etchings into my paintings, I am experimenting with a black and white palette. In future work I plan to combined these energies by using more absorbent grounds that would enhance precision of splatters, pours, and gestural marks, and my paint should spread more smoothly without dripping, and resemble a gelatinous state with a highly fluid yet viscous body. I am currently developing a formula to achieve these conditions.
In addition to form, social consciousness leads to content. I am influenced to paint landscapes of disasters. Paranoia about disaster plagues contemporary society, and the image of disaster is an inescapable iconography. I address fear, a historical constancy that is amplified today. My process echoes this timeless disaster imposition by appropriating traditional and contemporary methods. Although I paint disasters, I avoid imposing a political agenda. My imagery reminds viewers to further think about concerns they already hold, allowing my concentration to be form.
I am presently investigating means to translate the essential feel of a disaster through my materials. To capture this feel, I am experimenting with the mediation of potential and kinetic energies in the hope of achieving an innovative juxtaposition of energies. To explore merging these energies I study the qualities of my present work. My etchings possess refinement that implies movement and expansion in space and time, causing a meditative energy, whereas my paintings convey instant energy from my application of paint. To incorporate the contemplative energy of my monochromatic etchings into my paintings, I am experimenting with a black and white palette. In future work I plan to combined these energies by using more absorbent grounds that would enhance precision of splatters, pours, and gestural marks, and my paint should spread more smoothly without dripping, and resemble a gelatinous state with a highly fluid yet viscous body. I am currently developing a formula to achieve these conditions.
