Here’s a nice blog writeup about my recent small works. Have a look:
I’ll post video updates on the development of the third and final painting of this series. Have a look:
In Broad Daylight, 12″x12″, oil and mixed materials on canvas.
Łódź – 12″x12″, oil, industrial paint, mixed materials on canvas.
Here’s the lower portion of the miniature Łódź as it sits on my easel now. Some more work ahead, but close.
Worked a lot today on this miniature. The stakes have been upped considerably on the relief portions, and I now have my work cut out on the painting side of things.
Łódź – 12″x12″ oil, papers, wood, circuitry, ash on canvas
Here is my painting Winter on display now at this salon show in Manhattan.
A detail of a miniature from last winter. The structure at left is a combination of three different facades, and designs of my own making, but based largely on an abandoned (now demolished) high school in Detroit. At right are embedded and ignited match heads and are based on pilings. They have become shorthand for violence and appear in many of my paintings.
I often pair the painted structure with an ‘actual’ structure. This creates for me an immediacy throughout the creative process, and shifts my attention to now, responding to a real thing as opposed to a remote, imagined or remembered thing. This proximity makes the work far more urgent and direct, and removes much of what had been heretofore hazy or nostalgic. It has sharpened my focus and clarified my intent. Perhaps more importantly, this act has reoriented my perspective so that I no longer think of painting as painting, but as building, so that the painted structure is now a thing unto itself, competing for its own existence alongside the burned, wooden structure. This conceptual shift in perspective has played out on the panel in literal ways as well, as the facade sits face-forward as though in a portrait while the ‘pilings’ at right are in my mind viewed from above.
Small works on canvas measuring 12″x12″ each. Each deal in atrocities.
Materials should lend themselves to the conceptual framework of the work at hand. The basic question “Why am I painting this?” is central to understanding what it is I’m doing. If what I’m saying is better said with another material, I don’t argue with that.
Intent is paramount. There’s nothing haphazard or random in this process. All sorts of factors must align and find cohesion within this framework. Uncertainty is always present, but it’s through the winnowing process of self-honesty and devotion to what specifically I’m trying to say that something new and strong emerges.