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What intrigues me about your work is the evocation of the passage of time.
Every ptg seems to be a resolution of sorts of some conflict or tension that
predates the ptg and creates the stage for it. It comes together in the
moment. Like a winning shot in a basketball game. It has this provisional
quality to it e.g. you have tied the series but still have to win it. But
that moment of the shot, a three pointer, is what the ptg is about. And for
the time being there is a sense of relief(resolution). Hidden underneath is
what lead up to that moment. What is between the lines is the past and the
thick rich gesture of the lines is that shot that won the game.
The white on white(blue on blue) the loss of the disparity between ground
and line in the newer work seems to point to the importance of every
moment.The final shot won the game but everything in the past was of
importance. It about "being there". Presence always. And the will behind
it. It seems to be influenced by minimalism but without the arrogance,the
absolute certainty of say Ellsworth Kelley.(also there is a timelessness in
Kelley) In your work there is coming and going,coming into being and passing
away of each moment.
Your ptg is not "about" anything.Which I think you are happy to hear.It is
not descriptive.Nor are you trying to express your emotions.What does that
leave? The structure of lines and spaces in between sets the stage for a
conscious/unconscious dichotomy. Sort of like what is on the surface of
the water that comes from above(conscious) and the hints of the hidden from
below(unconscious).I think your work is about attention. Attending to what
rises to the surface at any given moment. Maybe the lines represent your
conscious attempt to "be there" and the spaces are what is inevitability
left out. or cannot be comprehended. The play between what appears and what
disappears or retreats whenever you try to pin it down. It is still the
"time" thing because there is a recall of marks gestures from the past which
are changed in the present . And new shapes that grow out of the past. Also
each painting happens at a certain point in time and therefore cannot be the
same as what came before and what comes after. In sum,it is not spectatorial
like you are looking at anything that becomes an object for your subject nor
is it about self expression. Like you were screaming about something. It is
very silent It about moments in the flux of time where you attend to a play
between seen and unseen. Maybe that is where the game metaphor from the last
message comes in.
It struck me that in my discussion about your work up until now I had left
out the issue of color.I focused on the structure and gesture and what it
meant,but color ...When I first saw you work I was touched by the color
mood,the overall affect of each ptg. It was something you could swim in.It
was totalizing but not dictatorial as though the different colors enjoyed
being together ,they liked rubbing shoulders with each other.Some sort of
crazy cocktail party. You walk in and say wow this is quite a party and
after its over you are ready for the next.What are they drinking or
smoking?I remember talking about Bill Thompson's work before.It is
interesting to differentiate you and him at this point.Aint no one except
himself at his party.You've invited lots of guests.Which can translate into
influences and how you let them play out in your work. Hence the issue of
time:these influences unfold in time and so do you and each time you dip
into the stream it is different.You can find new guests showing up.I mean
even the gallery scum show up which is great because we don't want to over
design these parties.It's not a socialites ball with only pedigree
guests.None of this hitting the viewer over the head over a lifetime with
the same image of me me me . I remember being bugged by this zen monastery
I went to because it seemed over orchestrated. One exquisite zen moment
after the next. MARTIN MUGAR
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