Arenas

My work glorifies the physicality medium and of the energy that takes place in the act of painting. The reason I do the work that I do is because I am fascinated by substantial qualities of art when painting can be sculptural. The four-sided canvas is my arena to work in as a painter, and similarly the space in between my vertical body and the canvas as an object is my arena to work three-dimensionally. I often extend a painting’s vocabulary of materiality about a painting’s compositional form from a sculptural perspective. What keeps me coming back is the intensely intimate process of painting. In essence creating a painting is like raising a creature; at a certain point its development, its qualities suddenly belong to itself as a whole. The work in this show displays my interest and achievement of a unique painting technique. I explore pouring as my favorable method, and additional staining, dripping, and brushwork. The pouring conveys a sense of gravity that relates to its own architecture, and it was at that point which point I had the first idea to incorporate wood beneath the painting. Collisions of experience and theory occur when I combine the two basic materials of paint and wood. I use wood as my other primary material because it expresses a dynamic extension of the painting’s formal construction. While wood is a widely used material for practical and design purposes. Incorporating wood into the process of a painting shifts a focus from wood being used as a standard construction material into an industrial plastic that I can manipulate and employ in a painterly way. My goal is to have the interpretations of my work open ended, and invigorate a spectator’s perspective of structural painting. I am physically and emotionally liberated to have realized that I find my logic in between the lines. I look forward to further saturating my passion for making art and retaining the unique vocabulary I have gathered through my work, exhibited in this show