Moments in Time (MiT) 2018 - a new series of paintings.....
I am interested in what the act of painting means and how it can explore multiple avenues of enquiry simultaneously. From existential questions and an awareness of presence and mortality, to notions of masculine codes and gender, all can be encompassed, for me, within the structures of thought and application of material that painting represents.
Issues of class struggle and racial interaction are explored through the iconography and codes of the sub-cultural milieus of the outlaw motorcycle club world, as well as music, soccer, skateboarding cultures. The political aspects are inherent in these paintings that reflect a curatorial model of selection and placement, of the archeological urban inner city, with key motifs of my developing language of forms, marks and gestures, codes, signs, badges, signifiers and patches.
This leaves them in a form of closed community, all elements in a dynamic relationship of meaning, a social model of knowledge. Modular. Frankensteinian, within the boundaries of the canvas as a performative arena, a stage or set where decision making engages the very human need to provide networks of understanding and cognitive associations. It is a rare space where responsibility, of identity, of choice, is focused, in opposition to processes of oppression, suppression, erasure and denial, that construct the paintings.
I am interested in what the act of painting means and how it can explore multiple avenues of enquiry simultaneously. From existential questions and an awareness of presence and mortality, to notions of masculine codes and gender, all can be encompassed, for me, within the structures of thought and application of material that painting represents.
Issues of class struggle and racial interaction are explored through the iconography and codes of the sub-cultural milieus of the outlaw motorcycle club world, as well as music, soccer, skateboarding cultures. The political aspects are inherent in these paintings that reflect a curatorial model of selection and placement, of the archeological urban inner city, with key motifs of my developing language of forms, marks and gestures, codes, signs, badges, signifiers and patches.
This leaves them in a form of closed community, all elements in a dynamic relationship of meaning, a social model of knowledge. Modular. Frankensteinian, within the boundaries of the canvas as a performative arena, a stage or set where decision making engages the very human need to provide networks of understanding and cognitive associations. It is a rare space where responsibility, of identity, of choice, is focused, in opposition to processes of oppression, suppression, erasure and denial, that construct the paintings.