Urban Runes   (Statement regarding recent architectural paintings)                        Concept

How much information can we store in our memories? There is always so much to remember that some casually accessed number, or code will occasionally slip and be logged as "no access". Each day our eyes take in even more seemingly random and unimportant visual information. Data that has no words, just shapes like bubbles floating unnoticed through our consciousness. In daily activity  our lives are filled with traffic intersections that become subliminal as we turn down a familiar street.Light posts, signs, trees, buildings and even cracks in the pavement illicit auto-responses from us as we hone into safety and home. And we hardly notice this relationship of craving and satisfaction set between our  subconscious memory and our environment as we  pull into our identity and driveway.

These things arouse my curiosity in a world where we are always looking straight ahead marching onward and upward to our believed-in destinies. But I want to see the peripheral view, and the contorted memory of place and time that I want to explore. I want to contain the images that I see straight from the fishbowl of my memory: floating images that sometimes intersect and sometimes bounce off one another static and confused. These paintings emerge with the random numbers and words that come crashing out of memory with no anchors relegating them to a specific purpose. Randomness like chaos is mistakenly illusory in supposed unimportance and secondary hierarchy in our attention. What lies in our periphery?

                                                                                                                             Technique

Use of acrylic media enables things to happen very quickly. I can layer in transparancies a pallette of vibrant primary color flowing with the immediacy of impulse.  Generating impulse is where I try to keep motivation while I’m working: tightrope walking between intention and accident.

Glazes with quick drying capabilities allow me to apply brush to surface in rapid succession and re-apply when the impulse vibrates into life. Experimentation with mediums that encapsulate layers of the paintings allow a floating layered look in areas of the paintings which appeal to my concepts of places of the mind layered against places of the world.

Sanding into layers to remove image and color  brings a sensation while working that I am  rethinking mistakes; another metaphor enacted in the manipulation of the picture plane that reflects my concept of layered thought and memory.

The resistance of the wood panel is necessary to the urgency that I work into while painting. I feel the energy of sanding down the edges and rough spots to create a smooth and unblemished surface. At the risk of being redundant in describing metaphor in my process, this activity becomes another enacted aspect of  the concept around what happens inside the thought process as compared to what shows in the world. What I want to be shown is the polished jewel-like, faceted finished product. But, what is seen is that and much more that I allow to show  in the revealed layers: a vulnerability I am willing to show.