These paintings are formed/informed by a love of language, a primal drive to mark making and the automatic. Deriving direction from Kosuth, Rusha, Kruger, Holzer and Twombly.
I find my true North and try to travel a little farther.
The language I choose and it's cadence, punctuation, vernacular and emotion are at once the point of departure, the journey itself and it's inevitable compositional conclusion. I let the language, be it only one or two words, a quote, lyric or poem, a play or an entire book dictate the outcome of the composition. The palette, and the scale of the piece play a part in the final *language-scape but it is the language itself imposed on and in these conforms that create the automatic and surprise composition. It does not matter if the words were formed into language pattern 3,000 years ago or spoken only moments ago, which also creates a visual document of time and space, thought and perception.
The complexity and automatic nature of these works also informs my other and separate bodies of work.
I like to think of these language works as Conceptual Abstraction.