2. ere is a moment that I want to capture
much like disentangling a situation. Once I’ve
arrived to something that resonates with me
then I’ve finally understood its complexity.
e oil paint builds up to lead to the creation of
biomorphic shapes that evoke the tangible. e
distinction between the natural colors (which
makes up the background) and the graphical
representations, resemble an excavation site.
e color palette varies but usually is the main
component as it separates yet relates to the
forms.
For the most part it is intuitive; however,
the image is informed by my process, making
each step very distinct from the next. e
shapes in the paintings appear to be like hand
tools, but also take the form of punctuation
marks. ese individual forms appear static, but
the entirety of the composition creates the
appearance of movement.
e imagery deals with exploration of the
subconscious. It is a dialogue that emphasizes
the loss of a primitive essence that I can no
longer attain. e forms are particular to the
composition, therefore it emerges as a
recollection of the past. is then becomes
present. It’s presence is unavoidable and the
entry point, the mechanization to see it.
e relationship is actually between each
of the paintings. is is where the process
becomes pivotal in building a vocabulary. e
challenge is to rebuild and reconstruct, while
still falling prejudice to memory. Memory is
fallible and is malleable which gives me the
opportunity to make new ones.
It really is about looking and informs the
perceiver that the content should stimulate their
instinctive curiosity.
Each form’s distinction should indicate the
viewer to question its belonging, in accordance
to its counterparts. e composition’s
unreasonable nature will remain
uncomfortable.
