Fiberglass, used as a translucent alternative to canvas substrata, punctures the fourth wall of painting. The performance of light, often restricted to surface ricochets, now transects the picture plane. But, this alternative material immediately exposes two challenges otherwise resolved in more traditional constructions.
First, visible through each composition is the planar surface upon which it hangs, an easily resolvable problem when considering a typical white cube setting for artwork, yet a precarious variable in real environments. Moreover, the internal presence of light changes the mode of the work from pure painting to hybrid sculpture, a shift attenuated or heightened by the color value of the plane on which the work is suspended. Second, the revealed, ordinarily veiled stretcher bars integrate as underlying structure to each work, their visibility now a compositional element with which to be reckoned beyond the delineation of form. Though the bars act as the primary friction giving taut shape to fabric, their scrimmed appearance now plainly denotes the extended objectivity necessary to the construction of its experience — or, the interdependence of space and matter, and their interrelation with the experience of transparency. These challenges heighten compositional tension within the work.
And ultimately these works are about tension, efforts to complicate simple elements and draw out aggressive characteristics. While non-objective painting can lean harmonious and balanced — style qualities that are historically relevant and still important today — I hope to push my compositions towards an organization which intentionally provokes more confrontational, perhaps forcefully revealing responses. The search for universal truth is a smokescreen over pure experience.
After all, work echoes the epoch from which it originates, and as society confronts the curtains of governmental voyeurism that have surrounded our daily actions, the experiences of transparency and privation have been involuntarily redefined. Truth is what we record.