The landscape: Internal Weather
 
Thinking about soil and dirt, Walt Whitman’s Song of Myself, comes to mind.  From beneath the rubble, skeletons are unearthed and decay becomes fertile ground for new growth. What comes about appeals to be seen but there is nothing tangible in it. Recognition comes through an impersonal source that is only known when derived from an encounter.  This encounter depends upon the object being adequate enough to be reabsorbed in the process of transformation. 
 
Painting operates without seeing it operate. Morphological and ecological, maturation goes backwards and forwards, producing energetic tensions between protrusions, recesses, above and below.  The experience of following and adding can be felt through the brush coming in contact with the canvas but until the ground is recharged and forms spring up connected to an inner logic, nothing is revealed.   At each stage, the well being of the painting is assessed, looking for signs of integration and consistency.  Technological solutions are avoided because by speeding up the process so much of the experience with the paining would be lost. Filled with flux, the process informs the terms of what makes a painting.
 
The link between mental and physical activity fosters multilayered, cross-fertilization.  This middle ground, which allows for a certain consistency that can be revisited in different contexts, relies on the continuum as a way of exploring this gap.  Each new development picks up on previous ones, modifying the angle of approach and offering another pathway of buried possibilities. What arises through the fog and dirt is a combination of the dualities and oppositions that express the relationship in full.
 
The diptychs and triptychs are combines that evolved as components in different but related series, over time.  Breaking them up and putting them together is based on experiencing and representing the embodiment of a relationship to before and after.  Each segment is bound to another by a slim conjunction or structural by-pass that completes the transition from singular to multiple. Whether a seam, a space, or a wooden armature, each refers to the functional necessity of the gap uniting one thing to another, indefinitely.
 
 
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