Above are a few images from recent work that was included in my second quarter review and also parts from my statement and some questions to think about. My most recent work consists of largish (around 6ft x 5ft) paintings on canvas and small, odd shaped drawings on paper. I am interested in the ability of the painting surface to provide a space for fragmentation and flux, simultaneous associations and stimulate sensation. Painting is an open, liquid form and is received through the openings in the world, through the senses... I don't know why this paragraph is looking like a link....it won't take you anywhere...this is where you need to be... I will put some more images on some sort of blog or my space page by Friday!
Everything is fragmented by everything else.
It's a cut.
This A cuts this B cuts this ship cuts this sky cuts this water.
Platinum Black.
Your love has just gone platinum.
Language can both cut and inflate. Each word occupies space on its own. But a word is never on its own. A mark is never on its own. The conflation of marks and words fills a pocket of space with air. Sometimes the pocket bursts. Sometimes the pocket of space becomes so enormous, its skin rubbing up against the farthest matter in the universe. Sometimes the pocket of space catches the gaze of a viewer and fixes itself to the gaze.
It gets into your eyes. Sometimes it gets into your eyes like glass sparkles. Sometimes like fireflies. Sometimes like a kaleidoscope filled with tilt-a-whirl and mountain dew. The catching and fixing is a sensual event that suspends time and transcends times.
It's a form of mediation.
The scale of a gesture is determined by the next gesture. Even the frame is a gesture. Is the frame even a gesture?
Be the Ultimate Juicy Girl.
The everyday affair.
Catch a piece of pickled purple sparkling slipper and slip into backwards, towards, higher, further, faster, than tangerine graffiti.
Hard hats required.
The artist is the great punctuator.
Questions:
Where in the world do the materials of my art come from? What are the actual materials and what are the visual materials? Is there a difference? How does the visual transform the actual? Does it at all?
Do my paintings direct the sentiment or the viewer in anyway?
How is a still object punctuated? Choreographed?
How is a painting read?
How does an event take form and what does it look like?
what role does fragmentation play in relation to the visual event?
What is attitude and where does it come from? Is attitude visual? How can it be visual?
What is meant by cultures of color? cultures of mark?
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