Pressure, heat, and time are some of the conditions that shape earth’s metamorphic minerals. They are also the conditions under which I develop my abstractions. I excavate pressure, heat, and time out of the context of mineralogy and translate them into the language of painting. Pressure becomes the relative depth in the pictorial void. Heat becomes color, and time becomes the slow accumulation of paint on a surface. The imagery and processes for each of my paintings are derived from the growth patterns of actual mineral specimens.
This external system shares agency in my work because it heightens the opportunity for pictorial risk, failure, and play. This collaboration enables my paintings to expand like crystals without requiring a predetermined outcome. My images must expand, peak, overreach, fail, disintegrate, recompose, and expand again. Successful formations might result in multiplying eruptions of bold geometries, while failed formations go on to provide crude armatures for new growths. It is through the cycle of failure, regeneration, and elaboration that my paintings arrive at unexpected formal situations.
I use paint to investigate mineralogy because I appreciate the intrinsic connection between the two. Many of the minerals from which I work also appear in the list of ingredients on tubes of paint. Moreover, the distortive qualities of the crystalline formations translate well into the medium of paint, which has its own powers of spatial play.