photo credit: Paul Takeuchi
Everything I make emerges conceptually from the anatomy of a painting: stretcher, canvas, pigment. This is the foundation on which I built my studio practice years ago as a painter who found more meaning in materials than pictures. Working within this framework has allowed my process to be open-ended, provisional, indeterminate, and often eccentric, breaching the conventional infrastructure of “Art” both formally and institutionally. For over twenty years I have held seven convictions. They are my compass.
1. The time invested in making the work conveys to those willing to invest the time seeing the work
2. Repetitive honing by hand may imbue an artwork with more humanity than a large gesture
3. Small works are underrated
4. You can build something big from small parts (or cover large distances with small steps)
5. Painting is a long process of getting into and out of trouble
6. Allowing a work to lean into instability is an affirmation of life
7. I am inspired by the prospect of mutual generosity between the artist and viewer