Paintings 2008 - 2009
(Sometimes I forget everything all at once.)
My work stems from an interest in how meaning becomes ascribed to images through the process of perception.
‘Painting is the silence of thought and the music of sight’1
Perception is the process of acquiring, interpreting, selecting and organizing sensory information.
‘Our Concern is with the interaction of color; that is, seeing what happens between colors’2
Languages, both visual and textual, provide ways in which to ascribe associations to objects, spaces, people, etc.
‘I invented the color of vowels – A black, E white, O Red, I Blue, U Green. I established rules for the form and movement of each consonant, and, with instinctive rhythms, I flattered myself on devising a poetic language accessible, one day or another to all the senses. I withheld the translation’3
In my paintings, I explore the transmission of multiple layers of information simultaneously.
(I am crushed by the weight of what has come before me, yet I am standing on top.)
I am interested in the viewing experience created by the use of these ‘stripes’ of information and the visual sensations initiated by their proximity to one another.
‘Seeing is the initial act of valuing, and the nature and infinite potential of human beings to see and aesthetically order the world is the one pure subject of art’4
I create static moments that appear to vibrate; to decipher any of the individual parts of my paintings, others must tuned out.
(Semantics is my structure; pragmatics are my content)
My paintings may require the viewer to pay attention at the same time that they seduce the viewer to get lost in the visual excitement.
(It is a cluster of random facts, thoughts, concepts, matter, space, light, etc. at any given moment, at any given location.)
1 Orhan, Pamuk. My Name is Red. Vintage Books, division of Random House, Inc. New York. 2001 pg. 59
2 Albers, Joseph. Interaction of Color. Yale University Press. New Haven and London. 1963, 1975. pg. 5
3 Rimbaud, Arthur. A Season in Hell. Trans. Enid Rhodes Peschel. New York, London, Oxford. Oxford University Press, 1973. Pg. 77
4 Irwin, Robert, “The Hidden Structures of Art” Robert Irwin .New York: Rizzoli International Publications, 1993.
My work stems from an interest in how meaning becomes ascribed to images through the process of perception.
‘Painting is the silence of thought and the music of sight’1
Perception is the process of acquiring, interpreting, selecting and organizing sensory information.
‘Our Concern is with the interaction of color; that is, seeing what happens between colors’2
Languages, both visual and textual, provide ways in which to ascribe associations to objects, spaces, people, etc.
‘I invented the color of vowels – A black, E white, O Red, I Blue, U Green. I established rules for the form and movement of each consonant, and, with instinctive rhythms, I flattered myself on devising a poetic language accessible, one day or another to all the senses. I withheld the translation’3
In my paintings, I explore the transmission of multiple layers of information simultaneously.
(I am crushed by the weight of what has come before me, yet I am standing on top.)
I am interested in the viewing experience created by the use of these ‘stripes’ of information and the visual sensations initiated by their proximity to one another.
‘Seeing is the initial act of valuing, and the nature and infinite potential of human beings to see and aesthetically order the world is the one pure subject of art’4
I create static moments that appear to vibrate; to decipher any of the individual parts of my paintings, others must tuned out.
(Semantics is my structure; pragmatics are my content)
My paintings may require the viewer to pay attention at the same time that they seduce the viewer to get lost in the visual excitement.
(It is a cluster of random facts, thoughts, concepts, matter, space, light, etc. at any given moment, at any given location.)
1 Orhan, Pamuk. My Name is Red. Vintage Books, division of Random House, Inc. New York. 2001 pg. 59
2 Albers, Joseph. Interaction of Color. Yale University Press. New Haven and London. 1963, 1975. pg. 5
3 Rimbaud, Arthur. A Season in Hell. Trans. Enid Rhodes Peschel. New York, London, Oxford. Oxford University Press, 1973. Pg. 77
4 Irwin, Robert, “The Hidden Structures of Art” Robert Irwin .New York: Rizzoli International Publications, 1993.
