January 2006

The current work considers issues related to consumption. I find it interesting to consider the nature of how we humans tend to be “consumers.” This has positive and negative ramifications, but it seems to be one of the strongest motivators toward living. It seems difficult for human beings to resist the appetite. It is observed that we Americans are gradually becoming “overweight,” however one could consider the issue to extend beyond the merely physical. In fact, in pursuing this train of thought one might realize that all realms of existence, physical, emotional, intellectual, spiritual, are affected by “the appetite.” I realize this could potentially be a very serious meditation, so, as always, I attempt to measure the seriousness with some good, old-fashioned silliness.

This work follows a recent group of paintings that was concerned with the theme of digestion as a metaphor for how experience is “processed” (digested) after the fact. It interests me that when digestion occurs there is a by-product, and I liken that to how we have residual experience following events that occur in life. The residue that remains is dependent on what sort of experience one has. By the same token, that which remains following a gustatory experience is determined by what has been eaten. One might say this relates in some way to the popular quote, “You are what you eat.” In this case, “You are what you experience.” Well, this coupled with certain other factors, molds us into the personalities that we are, depending on the “diet.”

Artist’s Statement 1999

Recently I decided to concentrate on re-establishing contact with paint as a medium with particular capabilities. This after a time spent exploring specific ideas I wanted to depict with paint. Now the issues are more general and abstract.

It interests me that paint can be applied in a series of layers similar to layers of skin. I am interested in what happens when layers of paint cover one another resulting in an obscuring of previous layers. The more layers, the more obscure previous stuff becomes. This has to do with evidence of the evolution of the paintings; something about their history. I like to allow this process to evolve at its’ own pace. I hope to let necessary layers happen of their own accord, much like how skin heals itself when wounded. In some way this becomes part of the content of these paintings.

Words are like triggers in that they oftentimes set the mind onto a specific course. The words in these paintings are some of the things that occur to me while I work. There is no specific direction I am trying to steer the mind in, I simply attempt to let things evolve according to what happens as the brain operates. In some cases, the words become like symbols, however the letters are really just things-in-the-painting. It is possible that they take the place of represented symbols.

Earlier paintings in this recent body of work are noticeably more literal. There are more recognizable symbols in them. As the work progressed a transition from certain symbols painted in a certain way gave way to less literal symbols explored in a more painted manner. Earlier paintings have less text (words) in them; later paintings have less obvious symbols but more text.

I find myself less interested in saying something specific recently and more interested in allowing broader latitude with respect to where one might travel emotionally, psychologically or spiritually. In some way I hope these painting allow that to happen.

I hope there is some evidence of humor as well.