Commentary on Provisional Painting Part 2: To Rest Lightly On Earth

The idea of “painting is impossible” is a heavy statement, and yet it yields some truth to me. Ever since the invention of photography, painting shifted its intention from simply reproducing image, to an actual construction of something from nothing. In the beginning of the article, the reference to Jean Paul Sartre’s work Being and… Continue reading Commentary on Provisional Painting Part 2: To Rest Lightly On Earth

Painting Today: Commentary on Chapter 5: Pure Abstraction

Pathos      Pure Abstraction is slightly less broad then the single word Abstraction, and yet it encompasses many levels of visual constructs through surface, materials, and process. Chapter 5 in Painting Today, coins this term for abstract work that explores the physical tendencies of paint along with a less expected idea, one which critics… Continue reading Painting Today: Commentary on Chapter 5: Pure Abstraction

Painting Today: Commentary on Chapter 3: Neo-Expressionism

Appropriation      Neo-Expressionism is known for it’s “exaggeration, heightened colors, myth and personal imagery.” This period of time throughout the 80’s in painting, rose heavy debate and many important questions. These artists were following a time when absolute abstraction, the all-over principle of Jackson Pollock, and the idea that art is an object that… Continue reading Painting Today: Commentary on Chapter 3: Neo-Expressionism

Artist Journal #7

2/1/13 Creating a stain (i.e. mark) from a substance that is known to eliminate and destroy stains: bleach. Would this be considered a subtractive process? What will diluted bleach do to raw cotton canvas dyed with tea and acrylic ink and the water-proof surface of dried acrylic paint? 2/2/13 Some artists begin with delegation: composition, arrangement of… Continue reading Artist Journal #7

Artist Journal #6

1/28/13 As I was photographing my drawings, I was beginning to think of ways they would be hung, displayed. My work is all about edge quality. I love frayed and asymmetrical shapes/boundaries. I want to keep the torn and misshapen edges, retain that initial relationship with the paper; sometimes before images even begin and other times… Continue reading Artist Journal #6

Artist Journal #4

10/25/12 Hooks come out of caught fibers on yarn; the weight of gravity verses texture of linen. I’ve seen the hooks before – in the slaughter cave in upper village, gnawing at the weave of stretched, primed canvas, hanging the remnants of quickly painted figures from an earlier work. The hook is waiting for a catch, a dangling… Continue reading Artist Journal #4

Artist Journal #3

10/23/12 With the rock drawing, I was still thinking about contour, the exterior of the form/shape. Frottage collects information about the form, within its own boundaries, disregarding the linear edges of the form from which the texture was derived; capturing its index. This is similar to what my process is with the figure. By recording… Continue reading Artist Journal #3

Artist Journal #2

10/22/13 There is a great amount of similarity between drawing and painting and not in the way most people equate. Drawing is not merely a preliminary to painting, its an entirely different experience of material use and  mark-making. My initial marks in a painting, whether measurements, blocking in or gestural, always remain as an element of the paintings development and both… Continue reading Artist Journal #2

Artist Journal #1

  Unlike many of the visual artists I’ve met, writing closely ties in with my work. It’s a way for me to formalize thoughts and ideas into auditory, literary information. My artist journal develops alongside my work; in some cases ideas begin as words transforming into physical and visual means and in other cases, as… Continue reading Artist Journal #1