I create colorful paintings that explore figure-ground relationships and hyper-flat pictorial space which start from responding to and selecting a found image and end as a large ink jet print. Between these two stages is where the bulk of the creative work happens. My process involves globbing paint on found images, then scanning and removing the paint-smeared image a number of times as the final work emerges. In the end, the greatly enlarged print intensifies and magnifies the physicality of the paint by capturing the viscosity of the medium by the camera like actions of the flat-bed scanner, producing a contradictory visual and tactile tension that entices yet denies the viewer the gratification of the painting’s materiality.
While the original found images may seem to have been obliterated during the process, they are often jettisoned and become works unto themselves. Here, my intentions are to create a synthesis between the imagery, the process and the paint, as well as to mediate the image’s past and present life. The found images become physical and conceptual substrates for my paintings, not only providing structure to the compositions but ultimately crystallizing the frenetic gesture into artifact and solidifying the quickness of happenstance.