They are composed of layers of oil enamel paint and polyurethane on coated masonite. These industrial materials are not intended for blending or thinning, so I do both, sometimes applied full-strength, sometimes thinned to a glossy glaze, layered while wet or dry.
Working horizontally, I use techniques of pouring, dripping, pushing, and pulling, stopping and starting, dragging, rocking, jiggling, stamping, and pressing to create effects of lines and gaps, blending separation, dense and spare.
The paint’s shiny color and thick body hold patterns and striation. Thinned and layered, the paint achieves a glassy, lacquered depth. Layers of clear polyurethane between the colors seem to bring in the light from the edges, illuminating the work from within.
The paintings for me are both a physical process and result, a meditation on movement and stillness. I imagine they make sounds: whooshing, ratcheting, humming or chattering, or a presence of quiet thrown off by the picture. They suggest rising and falling, rushing and skidding, leaping and landing. I can hear them breathe and trickle and sigh. Velocity, and vapor.
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