The series explores defining the wordless through abstract narrative, taking footnotes from the decay and growth of forests. Underlying elements express an excitable epistemic bearing that nudges the viewer to examine a meticulous landscape of unknowns.
"Kriethic" 40x30, oil on canvas
"Vertiform" 40x47", oil on canvas
Inside-out paintings offer an alternative way to view a two-dimensional oil painting. The work is made from a process developed by the artist that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. The result of this novel approach opens up a way to expose the bones of the process of painting itself. Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine- things that happen within the painting procedure which are usually covered up, are all visible to assess. The work then creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.
With these I attempted to reach a middle point between a material surface and an illusional space., control versus disruption, and the use of natural phenomena to produce depth and dimension.
All paintings in this series are acrylic on panel (aluminum or other).
Painted by hand. Digital As Manual- this work exemplifies perspective shifts and derivative cycles of ideology in the present era of digitization.
I took reference images from a prior series of work and digitally distorted them- then used this image as a point of reference to physically paint another rendition, with inverted colors. The warped effect is a "style" originally derived solely from software, being something alien to human thought and the real world around us. Thus creating a painting with this style speaks strongly of the influence of the digital.
These paintings begin in the non-objective- allowing structures and landscapes to form as layers are added. The process usually produces imagery possessing semi-coherent relations to the physical world. I sought to bring an amalgam of abstraction into the realm of space/place, linking subconscious with conscious. The work can be compared to other artists who apply an opposite method, producing landscape-to-abstraction work, which seeks to break down referenced imagery. Rather, the result of these compositions generate a boundless circumstance, engaging in a conversation about the ineffable. Many of these are straight forward metacognitive (mentally reflective) studies visually expressing the mind as it turns a corner or enters a new mode.
All paintings in this series are oil on linen or cotton canvas.