We make paintings that elicit positive emotions from our viewers. We want them to feel the warmth of the reds, the calm of the blues, or the sense of resolution when two conflicting colors meet and swirl, resolving into an unexpected amalgam of life in two dimensions, for instance. When we apply the paint, we do it without brushes. Colors are dripped and splattered, poured, squeezed, and sometimes pushed around, similar to the way Jackson Pollock would’ve painted during his prime. And while the term non-objective – a lifeless sounding term generally used when referring to art that is without recognizable content, neither standard representational nor immensely abstracted content – is a term that would be used to explain our art, our goal is to defy that dead expectation and give it new expression by painting in a way that invigorates our viewers senses.
These are not flippy cup paintings nor pour and spin paintings. They aren’t ‘fill a colander with paint and let it settle in a pattern’ Youtube type paintings. The art that we make is sensitive. We ‘feel’ each drip we drop. We anticipate and intuit every forthcoming mark. For us, so long as the paint is wet, it’s alive. It isn’t until we finish applying the colors and the paint dries that the painting itself is done. For so long as the painting is wet, it remains susceptible to shifts and changes that are all beyond our control. During that time, everything within it is left up to chance, and that’s part of what makes it beautiful.
What makes these paintings unique is that they are carefully curated from within a much larger work of art. Where the larger work of art might have failed, these paintings simply cannot. This is because they were chosen, carved, divided, and then reapplied to a separate wooden surface. All that’s good is preserved, while all that’s “bad” is scrapped and saved for another day. From ultimate chaos comes individual beauty. And that is what we hope to convey.