Dichotomic 2014-3 Painting

The work is an iterative reprocessing system, abstracting further into its own imagery over and over again, from one canvas to another. In-between the iterations is a control point that distorts the work into a different evolution. The distortion is done digitally, from an image of the prior work, and I use it loosely as reference to physically paint the next one. Each work then carries the “inheritance” of the previous painting, from my hand and from the digital distortion. The distortion takes the image and totally reconfigures it, keeping the work from fragmenting but pulling and stretching it in a distinct way- a form that has been put through a filter (or more like a meat grinder). As I physically paint this next derivative work, the final outcome is an abstraction of an abstraction and a kind of test of proof between the original piece and the “retranslation”. The finished painting informs me about my own initial work (in a unique state of bias) and talks in an existential manner about what can be known, what can be interpreted, and how. Then I create the next iteration and repeat, pulling each work into a singular train of discovery. Physically speaking, the warped reference imagery is both a guide and a constraint- requiring at times the use of very large brushes and forceful mark making techniques. The result falls in-between the painters hand and the demands made by the digital distortion.