32 Painting

I rarely use traditional brushes and prefer scrapers, cups, and squeegees for mark making. Most of the time, the work-in-progress is on the floor while I'm either outstretched over it or running around it, manipulating the paint by pouring, smearing, splatting, or mono printing the color directly to the canvas. I prefer to juxtapose washy watercolor effects with thick, goopy drips and blobs. It's all about the texture, depth of color, and the light that emerges. I forego the gesso layer, preferring to paint through the canvas, not on top of it. My work speaks for itself in that it’s not about anything conceptual or representational. The intention is for it to confront the viewer in an honest way. Each painting is simply a series of personal decisions made in a very specific window of time. Ultimately, the work provides a visual record of this thought process. I'm giving the viewer space to draw their own conclusions. The paintings have simple chronological numbers as titles. Again, I do not want a literal title to suggest imagery and skew the viewer’s personal experience; however, I do want the paintings to always be connected chronologically wherever they may end up on this planet. It's their ancestry, and each painting wouldn't exist without the others coming before it.