I’ve been working on these for the last few weeks and besides tearing my hair out, I’ve decided to release them to the general public.
Here’s the deal, feel free to call me out on any of this, I’m very interested in feedback and promise you it will be taken seriously (or not depending on the note) – thanks ML
On Developing New Images.
My artworks link to a particular but unspecified presentation or location which could be in physical or non-pyhsical space. The artworks are composed both as a response to the question of how one might produce imagery for a particular kind of space, but also as work that is able to stand up to a large variety of environments and presentations.
The artworks come from a series of divergent strategies. One of building and extending – the other of reducing and minimizing. These disparate approaches are not a way to impose meanings on the work, but can be viewed as a metaphoric crossroads. This crossroads is about extending the relationship of these different approaches, while at the same time allowing the viewer the liberty of time for further reading of the work. The image making that comes from this strategic foundation will be clear, concise and rational, while at the same time allowing for a sense of community and/or contemplation to develop in and around the artworks.
The artworks are not linear narratives, this allows the element of time to be stretched or compressed to accommodate the viewer. This flexibility to time as well as environment allows the artwork to reveal itself in slower and calmer ways than an artwork that is based only on the relationship of drama and detail of the forms presented inside of it, while allowing those with a more compressed timeline to react to the base elements of the composition and painterliness of the overall approach.
This open ended approach is central to the artworks I create and allows them to be developed with a non-specific exactness.
February 2009
On Names.
Titles have become critical to my work. Primarily they re-establish a connection to the visible world and hopefully trigger a series of associations and ideas that are related between the artwork and the connotation in the viewers awareness. I avoid the descriptive and ordered approach (blue, or number 12, etc.) as well as using “untitled”. I view titles as an approach to open the viewer to a thought process that may influence the subject at hand. This could be viewed as a shorthanded poetry or similar device that allows further thought about or in connection to the artworks.
January 2009