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In 2003 I began to make paintings using overlays of colored mesh and other industrial materials. After a time, I dropped the stretchers and just pinned the constituent elements to the wall. This move brought planar abstraction into the realm of assemblage, and I found myself coaxing pictorial space into existence through sculptural means.
From a distance, the visual dynamic of the work hinges on optical blending of hues; at close viewing range, the tactile presence of the materials becomes dominant. As an addendum to the wall rather than a discrete object hanging on it, this “expanded” painting has the potential to introduce pictorial space as a condition of the viewers’ physical environment.
A palette consisting solely of found color is appealing conceptually but the concomitant limitations, both chromatic and emotive, are far too restricting. So in the last two years I have returned to mixing colors, which I use in combination with the hard colors found on the racks and in the catalogs of commercial suppliers.
Some of the newer pieces incorporate objects, including stretched canvases. As I extend the physical scope and enlarge the scale of the work, the challenge has been to juggle a much larger number of variables while sustaining procedural clarity, spatial complexity, and humor.
January 2009
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