Abstraction always seemed an obscure territory, one that was too difficult to enter in a casual manner. Around 2005, I decided to go there, after 2 decades of painting figurative work. My painting has always been process driven, but was more open to evolving subjective themes, than to the formal possibilities of paint. Committing to an abstract approach brought these considerations into play.
Each painting takes its own path of visual logic, and it’s not a direct or expected journey. I avoid solutions that I know will work; that I can envision as a successful painting. I set up conditions that prevent predictable outcomes. The shaped panels make it impossible to deal with composition in conventional ways. I try to present awkward, cloddish, premises that have no good solutions. I also try desperately to make it all work. This battle/dance dynamic triggers an interesting type of decision-making, for there is never an action that is correct or wrong. At some point one stops solving problems, and starts making choices. This is creating, and it is terrifying and exhilarating.
The best outcome is for the resulting painting to retain the vitality of this experience. Painting can present those human thoughts and experiences which are too nebulous for verbal communication. Today, it can be difficult to justify painting as ones medium. Thankfully, it’s not a medium, it’s a thought facilitator.