The wooden work resumed in October 2007 during the run of a solo show in Philadelphia. That was a show of paintings that significantly approached a state of immateriality. At that time, I was consumed by the notion that something of such great personal importance could be so easily discarded. Personal convictions seemed as fleeting and dispensable as daily weather reports: data important now, just for now, largely forgotten tomorrow.
I responded by making painted wooden objects. I needed to make things that were verifiable and tactile to counter the state I occupied. I had left object making for pure painting in the year 2000. In returning to objects, I realized the importance of making work as uninfluenced by past experience as possible. I made painted forms as directly as I could without narratives, memories or other past histories attached to the process. I realized this added the burden of expectation to the work. The pieces simply lost their fresh directness when I tried to bring something from the past into the present process. My guiding rule became: glue it, screw it and paint it.
I have little interest in geometry per se. In fact, it was my single worst subject in my math coursework. It seemed I was never able to get it right. While I am interested in pure form and color, these concerns are almost always manifested in some manner that is neither perfect nor quite right. Never square, my pieces are intentionally off balance. While my work is often seen as minimalist, I would note that I actually reject much of Minimalism’s concerns. My thinking has it’s sources in Suprematism, Neo-Plasticism, Art Concret. Subsequently my work is heavily influenced by post-war non-objective European painting. Specifically I would note four German artists: Blinky Palermo, Imi Knoebel, Günther Förg and Frank Badur.
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