I think of my paintings as visual manifestations of physical forces, which are meant to inspire a sensation that is analogous to being in the natural world. By eliminating traditional narrative as a mediator, I can capture the compression of time and history through abstraction and metaphor.
This group of drawings is a direct outgrowth of my painting practice, where mounds of accumulated oil paint are created as a result of my daily palette cleanings. These mounds become objects in their own right, as well as documents of a physical process and a creative history. The drawings are a way of giving life back to something that seemed long dead.
The prints were created by digitally isolating various visual elements of my painted work. These elements here become building blocks, dislocated from their original context, broken down, and digitally photographed, mimicking the painting’s process through a kind of spontaneous bricolage. In this way, the spirit of my painting has maintained its integrity in print.
In the photographs, this relational shift is turned back on itself. Intimacy is now achieved by blowing up the detail of a small painting into a large format.