I make complex, layered, painterly, and image-driven work that draws on a number of distinct cultural disciplines. These disciplines include the development of the computer, the history of the landscape, and the realm of science fiction. Each painting acts as a unique intersection of these fields. This broad approach allows me the room to inter-relate images, materials, and techniques in unforeseen combinations. Combinations that can refer to history or be wholly invented.
This body of work I have titled “Processor”.
For my methodology, I use as a loose guide the manufacturing process of the computer CPU. The process of creating the CPU, (known as the most complicated and exacting manufacturing process in the world), starts with a pure silicon wafer and through hundreds of transforming and layered steps turns that inert material into the machine core of every computer, pad, and mobile phone. This planar process has many direct and indirect relationships to the techniques of printmaking. My initial introduction to art was in printmaking 40 years ago and I am very attracted to the strategies and techniques of printmaking and CPU production.
The “Processor” works to date have used mirrored plexiglass as the support. I begin by sandblasting and etching a pattern into the surface. I continue by printing a CPU diagram on the sheet, dripping, doping, and painting a historically based landscape on it in black acrylic lacquer. In many steps involving both sides of the plexiglass sheet I add and remove material. I often reach a state of chaos and impasse in even the smallest works. From there I find the pulse of work, its title, and its resolution.
The shimmering environment created in the paintings has a dystopian feel. In a sense, these are history paintings, but history paintings of the future and the past. I would like the viewer to move through the paintings and objects, discovering, connecting, or inventing their own experiences.