P18-0714 in progress, July 2018
Some years ago, it occurred to me that conveying paint to canvas by means of a system that uses printing plates instead of brushes would save a lot of time and trouble. This indirect, intentionally imprecise production method yields the great pleasure of surprise while providing a concrete way to think about color, surface, scale, seriality, figure/ground, original/copy, and the psychology of visual perception.
Works on paper
These are also made with the imprint of one or more paint-laden surfaces and are thus technically collagraphs, though they are unique (not multiples).
Small panel paintings
Less procedurally elaborate than the larger paintings, the panel paintings allow me to address how much complexity is enough for something to be interesting to look at.
These are monoprints in India and sumi inks on Arches 88, an unsized, highly absorbant paper. They are loosely based on a 1929 lithograph by Henri Matisse titled Nu renversé près d’une table Louis XV. The sheets are the same proportion and one-quarter the size of Matisse's 26 x 20-inch sheet. I don't refer directly to the Matisse when I work, but I hold its odd composition in mind.