|exhibitions 2009-2013||works on paper||remainders||traces||press||statement||cv||news + links||projects||archive||contact||login|
painting, drawing and abstraction as markers of a space outside of the verbal
and within the visible, my work examines slow and sensate exchanges between
perception, matter, and psychology that develop in peripheral spaces over time.
Searching for meaning in the minor and the overlooked, my practice works on
dislocating hierarchical terms of the sublime to focus on the links between
perception and emotion as they unfold in unspoken events of cognitive
illumination. Each piece is developed slowly through stages of meditative
procedures, abrupt change, and actions of chance, working towards creating a
compressed expanse of time that echoes the intense shifts in which we
"see", both inwardly and outwardly. The works open a gradually
revealing field for optical intensities, luminous intervals, individual
discoveries, and opportunities for slowness.
With around four paintings developing over a year in my studio, my drawing practice spins off, supports, and broadens the ideas central to my work. This consists of the large works on paper, the remainders, and the traces.
The remainders are graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. The set of remainders made for each painting stays together as one piece and are shown chronologically, left to right. As sedimentary events, they materialize forms within the paintings that have become invisible, partial, or erased. These works map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings.
The traces are similar to monoprints, pieces made from either the surface of the paintings or from beneath the works on paper. These works are a way to capture the potentials—stages, ideas, poetics—that surface and are then subsumed in the development of the paintings, and to assert momentary flashes of visibility within the dense aggregation of time in the paintings. Countering the starkness of the remainders and the worked nature of the paintings and works on paper, the are created in color and include one to three actions and no surface manipulation.