In my current body of work, Walls Eat, I use the same earthen ground color (Nova Color Raw Titanium Matte) as a starting point for each work. It is close to beige and similar to that painted on many small shops, liquor stores, and residences throughout Southern California. Beige functions as a constant hum in the built landscape so present it becomes invisible to the eye. I think of these paintings as a response to those transient wall spaces often covered by graffiti. I am intrigued by the resulting image that is born out of the grapple between graffiti, signage, and stray mark making and its removal. What’s left is neither pristine wall nor decipherable language code but an accidental abstraction. These accidents are culled from my travels throughout the city and re-imaged back in the studio in the frame of painting on canvas.
I often use visual references taken from specific locations as a way of generating vocabulary in my work. These references become points of entry -- attempts at grasping a moment, holding on to location or a color memory, and affixing them with paint. These unrelated moments collide on canvas where the “figure” and “ground” wrestle to occupy spatial primacy. The resulting image is ultimately unfixed in relation to location-- there is no referent or trail back to an original source. The outcome is a portrayal of looking. Looking with a twitching eye attached to a skull in motion, lids blinking, head bobbing. Stability is a mirage of visual moments that never fully resolve. Vision keeps searching in an effort to be useful. A departure from the functionality of subject while visually engaging the viewer and working toward a specific understanding: to find meaning in a moment and be lost in looking without the authority of language.