Oil Paintings on Canvas
I should say something about the painterliness of the paintings, which people express surprise over when they see them in the flesh for the first time. (I think most people expect geometric abstraction to be flat and graphic.) The undiluted, impasto, conspicuously brushed paint becomes almost mosaic-like where I nudge it into the tiniest shapes. I want every shape (large or small, positive or negative) to have equal physicality, equal presence on the surface. I don't like holes (or unmapped spaces) or things hiding behind other things. James Turrell said in a talk in Portland last month that he wanted, in Roden Crater and in his oculus chambers, to frame the sky and to bring it within touching distance. I'm aiming for a similar presence, and while that might not seem to be a particularly ambitious (or difficult) goal in painting, since they are inherently framed and flat, I've actually experienced that intense sensation of complete fullness and physicality in few paintings I've seen over the years.