 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
Statement 1
Although my work may be built out of the parts of my everyday life, ultimately, I prefer it when it appears as if it were made by nobody. The specific parts may be conversational (encompassing all the range that that mode of expression can encompass) and yet the form with in which it all finally comes together is something that just is. I may start out addressing things that interest me (talking in a way that is pleasurable) and yet as the work progresses my will and desire seem to get pushed to the side, leaving what I consider to be me in a restless hell. I wish this weren't the case and perhaps in reality the two processes are more integrated than I'm letting on. This all sounds rather kabbalistic. Of course it is me who makes the work. One wishes to see the mind engaged. But too much thinking and it isn't very convincing. This isn't the same as going on automatic. I'm still present as the work goes on. It's just that my will or its power over my actions seems meaningless.
~ 2000
Statement 2
Early on I recognized that the heart of my work is ball point pen drawing. In various ways I've sought to translate that way of working into something larger, slower, or more materially or formally substantial, while at the same time trying to not lose hold of its most important characteristics (its ability to address subjects in a way that is spontaneous, specific and conversational). This has led me to develope a way of painting in which forms within the piece are constructed not so much with their identities in mind, but by thinking of them in terms of their quality of being in relationship to the other things around them. (Rather than asking, "What is this and why am I painting it?" I ask, "What would this thing be doing next to that one?") When first viewing the painting one may be overwhelmed by the large amount of kinetic marks that seem to have been built up in flat layers. Over time, however, (perhaps after multiple viewings) one begins to unravel this information. A complex interconnectedness develops that allows for multiple ways to traverse the painting and "literally" read the forms and spaces depicted. Contending hierarchical structures emerge. Eventually, one develops the feeling of having very directly experienced what I would call a "sence of place".
~
2006