ARTIST STATEMENT

My work is concerned with features found within the subject that order subjective experience. The “subject” is more often implicated by its actions, drives, and desires, rather than experienced directly.  My paintings offer an arena for my actions, drives and desires to display themselves. The process of painting records every gesture without judgment. The transience of a gesture is held and made visible.

I betray “self” or myself both consciously and unconsciously through the movements of my body. The paint remains as a memory, a fixed point of reference to a body’s presence, time spent, a momentary act of reflection or a  “state of consciousness.”

What I abstract from subjective experience at any moment is merely a fragmentary oscillation. I have ordered my working methodologies to account for and make apparent features and relationships within these moments. In my work I immerse myself in sensuous, unmediated moments of perception in order to experience direct sensation. There are other moments when I fully embrace the distance of preconscious structures such as language and the social other.

I utilize both methods of working.  By bringing together both methods, I establish a relationship between mediated and unmediated ways of being.  Because these processes flow directly out of momentary psychic states, it is implicit that on some level I am visually representing a relationship between these states.  I directly respond to marks made from previous states.  I move back and forth between methods of working, leaving a build-up of residue on the surface.  Whether the relationship that results is visually apparent or completely buried under a history of painted moments, a differential relationship has occurred and continues to occur within the work. Through careful inquiry and observation, I become aware of the implications of my paintings. Through fluid sets of unexpected associations I gain awareness of myself and the structures that influence and organize my experience.