Pushing the intimacy of an auditioning Painting---speech patterns, cadence, and loftiness is all that’s at stake, here.
Painting downhill is vulnerable---I’m translating my own difficulty walking downhill (though my path is insurmountable, I nonetheless click my heels with intensity, grapple with noisy vibrations, wrestle with leg length discrepancies, submit to subtle gradations, flail edgewise, and clumsy my way to 180.)
I’m working on distributing notions with my work—how best to distribute notions and have a painting play the role of a painting, or at the very least, audition for the role. Residue.
Maintaining an interest in genuine clumsiness, and working on replicating it in earnest. The difference between carefully constructed fingers and paws.
Unabashedly making visible my own difficulty confronting work, by way of gestures of notions, isolated elements out of their context.
How to swing and miss, painting?
Baseball from the position of a batter.
Outsourced Drop Shadow: Winslow, 2014.
A little, sad phallic gesture, 2014.
Artificial Authority: Bondage Painting, 2014.
"The ball is in her court... But she's definitely dribbling!", 2014.
Baseball from the position of a Batter, 2014.