One of my concerns as a painter is to develop an understanding of the relationships between mediation, consumption and engagement with human experience. Technological societies have become obsessed with digital media to the point where their constituents are like compulsive camera operators documenting and disseminating the piss out of every banal experience life has to offer. As a result, I have initiated a practice whereby I will take photographs, process them somehow and then deconstruct them and use the colors in paintings.
I have been interested in the apparent dichotomy of how people deal with human experience. On the one hand, there is an immediate sense of being in the present moment and being in the now. All the sensations and awareness of that moment are felt in their entirety, and your awareness is fully attuned. On the other hand, there is the schizophrenic and narcissistic doppelganger of this mindset. The behavior that seems intent on documenting and compulsively deconstructing, judging and sharing every experience that is not being lived at all, but examined. I will go into this further in another writing later. But it has informed an aesthetic development of how I make paintings, which has been evolving since the early 1990’s.
The photographs that are a part of some paintings are ones I take somewhat impulsively, in the moment. They could be figurative or landscape or whatever. I intentionally begin a process of compositing them with other images using very sloppy and amateurish techniques. When I think I have something worth pursuing, I run the colors from an exported .gif file through the stealing color app, where I can derive acrylic palettes of color. From there, an entirely different process of painting will take place. The images above, show some examples of the evolution of this process.