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Paper dimensions 30″ x 24″ Image dimensions 27″ x 21″ For this body of work on yupo paper, I continued using my oversized calligraphy brushes. Yupo is a synthetic Japanese paper, and is very smooth but also very durable. I laid out long sheets on the floor and masked off dimensions for what would become separate sheets. Many of the eventual works were painted together as one in order to preserve single or repetitive strokes as I meditated each day. This physical meditation resulted in artifacts of gesture, and allowed subconscious imagery to emerge freely. I am a soul of the water, and the completed works feel to me as though they were born from the depths, where a physical entity’s relationship to gravity and environment is different than for lifeforms on the surface.
I believe we are storytellers by nature. It takes stories to make us human; it takes stories to keep us human. We have always looked to the stars and created heroes and myths, stood before the ocean and interpreted its mysteries to make gods and monsters. I tell stories with gesture and form, surface and texture, in an attempt to convey that same sense of awe and wonder. I want people to find their own meaningfulness in my paintings rather than be concerned about meaning. In this way, we are sharing stories; discovering what makes us truly human.
My black and white paintings were created without brushes. I used wet-on-wet techniques and poured the paint onto the surface, then manipulated it with compressed air. The physical disconnection from the work lends the ephemeral quality; that sense of disembodiment and haunting.
The original inspiration was from the twists and undulations of cigar smoke in the studio. I become increasingly fascinated with ideas of dissipation and dissolution. Over the period of about 18 months, I developed my own technique to physically represent what was born in my mind’s eye.
The result is both expressionist and formalist; the works conveying deep emotions (different for each viewer) while being largely process-driven. Over time, I mitigated the elements of chance and was able to be very deliberate in my compositions. The work from 2018-2019 shows new levels of mastery and control, while also letting go to improvise and explore.
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