To paint is an easy and joyously messy task; it’s a pastime enjoyed by many.
To create a painting is more taxing, and is accomplished by very few.
To produce an experience, however, that transcends the seductive physicality of paint and surface, an experience that is transformative and possibly redemptive, is immensely perplexing. Each day, you isolate yourself in your studio, submerged in purposeless activity, because painting has no common purpose. It doesn’t bear fruit, build cities, or end wars; it certainly was never meant to convenience. Furthermore, it carries its own measure of human absurdity: You absent yourself, barricaded and adamant, in your studio, in an attempt to communicate, to connect with the very society you are neglecting. And those connections you strive to make are timeless; the dead, the living, the unborn, are all watching patiently.
Yet painting has substantial value precisely in its uselessness. It is this absence of need at the core of painting that reveals truths about the artist and the audience, place and time. My work has always been rooted in an examination of our fears, desires, dreams, etc. To get at them honestly means stripping away everything I can see that separates us. The America Suite series and in particular, the recent shaped paintings, are an attempt to grapple with such complex emotional states within a concise spatial language.
Excerpt from “Picture this”