Letting the idea guide the work:
I have always been intrigued by the interruption of order. This is partially because I crave order: in my work, in my studio and in my life. One of my graduate school mentors, Elizabeth Crawford, called it the “postcard syndrome”. When you want everything to be perfect, that it becomes too perfect. There needs to be a disruption, especially if you are partial to this type of perfectionism. I am reminded to leave that thinking with the advertising firms and movie producers creating perfect scenarios for us to indulge in. Art has to be about something more. Moving past the perfection to disruption. It’s a challenge I must admit. One that I continually operate against.
All this lead me to consider the space outside the confines of where the painting or drawing should be. How do I incorporate that space into the work? For my Works on Mylar, I determined that putting a square inside of a rectangle would allow me to make a painting that activates both the space within and without.
Of course when considering a painting that goes beyond the grid surface, you must reckon with the work of Elizabeth Murray. She, in my view, is the original master of all sculptured painting that we see today (check out the amazing work of artist Justine Hill). I had the opportunity to hear Elizabeth Murray speak on two occasions before her passing. She was kind, thoughtful and so generous in sharing with the group. One of the talks was for hosted by MOMA and given specifically to parents and their children. As a parent herself, it was so interesting to hear Murray talk to the kids about her work and connect with them on a genuine level. What I admire most about her was her ability to just make her work without interruption or distraction. A true inspiration.
For these Works on Mylar, I didn’t want to eliminate the painting confines completely. I only wanted to operate against them. The idea is to brush up against and push past order and geometry. Some of the works seep past their painting confines as if escaping pre-ordained boundaries. Others operate almost entirely outside their own designated constraints. Kind of feels like a very human reaction to rules and constraints. And I really like that. An abstract work that conveys a human attitude of subtle defiance.
Works on Mylar available at Buy Some Damn Art, Brooklyn, NY.
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