I think the issue I’m running into is not so much fabrication as it is presentation. Dirty inside clean. Chaos inside precision. Energy under control. Maybe focusing less on ‘tightening’ or responding to the initial image with refining layers, but instead letting the refinement happen in the presentation – the hanging, isolating apparatus. A chaotic image with no distinct edges, living inside a ridged and pristinely painted/built framework. The frame then becomes a part of the finished piece. It is the element of stability presented with the unstable energy of edgeless, raw emotion and material manipulation.
Playing, dipping, soaking, hanging, dripping, flowing.
The deliberate creates the peripheral. The peripheral becomes the deliberate. Energy, color, flying. Spinning and twisting.
Scrap wood from stretchers becomes a new unorthodox structure. The painting will play on this space, rather than merely a form of presentation, the stretcher becomes a place for support of action. A surface for hanging – a structural integrity for the organic lack of form the painting will take. The books will hang on the wall, each one with a cascading of fabric and paper; each one reaching toward the ground, reaching for stability, reaching for meaning and solidarity.