count to ten

Exhibit proposal and statement

  Presented here are ten paintings that I collectively call Count to Ten that represent a new direction in my work. These are part of my text based series, The Disappearing Act, composed of hand-painted dots based on medical color-blind studies, the psychology of color, and eye charts. Provocative and contemplative phrases from sources of various repute refer to what I see disappearing both personally and globally. The phrases mimic and question the modern use of abbreviated characters, pixels, and digital technology based on fragments of color. 

The catalyst for this work was both the onset of a vision problem and the Covid 19 lock down. I found myself without gainful employment, faced with the precarious and unthinkable occurrence of potentially losing my eyesight, while simultaneously granted unforeseen time in my studio. I created “My Serenity”, the first painting in Count to Ten, because I was struck with the quandary of had I been given too much serenity, or had it been completely taken away. 

Color has always been a key component of my work. Previous to this series, I painted abstract Tondos, without a rectangular format and intentionally no literal interpretation. I was interested in how a circle is a more symbolic, emotional, non literal way to present an image. I replaced the circle format with a rectilinear canvas to emphasize literal intent as I moved into The Disappearing Act paintings.

The current paintings adopt a limitation of ten letters within a vertical format using subtle adjacent and complimentary color combinations. The result is complex, rendering the pictures of dubious medical grade. My text choices come from varied sources; ordinary, sublime and ridiculous including word fractals from memory, daily observations and insights. I tuned into a world of words and phrases creating a list of hundreds of viable ideas to paint. 

These phrases are meant to inspire contemplation, question value, and are evidence of what we share and how differently we see from each other. The paintings confirm the need and longing for personal and shared rituals such as family meals, Haiku poetry, Indian Raga music and Twelve Step programs as they are being dreadfully supplanted with digital media and an onslaught of data. 

Time slows down painting in the obsessive technique of building fields with dots. Sand and other aggregates add interest to the painted surfaces. The textured surfaces refer to wasting nothing, not even a grain of sand. Actually seeing these paintings in person rewards the viewer in two primary ways, with both the readable content and the surprisingly compelling colors and tactile surfaces. By contrast, secondary internet images eradicate viewers contact with artists’ processes. 

In developing these ideas, I had to ask myself, in a world that commodifies virtually everything, could a simple idea presented in a familiar way with a color twist ask two essential questions. Has distilling down thought in a world of pixels and influential social media made what is important indistinguishable from everything else? Could simplicity still be as profound and relevant to leading a life filled with curiosity, wonder, ease and awareness? I am reminded of the phrase; seldom is the important urgent, likewise, what is important is seldom urgent. 

My work consistently investigates the intersection between conceptually weighted ideas and formalist outcomes. Over time, I have developed diverse technical proficiency. I prompt myself to create work that surprises and challenges me without continually repeating myself. I strive to combine painting skills with a conceptualist conceit and produce beautifully crafted objects that often play mind games with the viewer.