I do not plan my paintings because I sense them noetically. I discern the works passively as deja vu like memories. Discovering and manifesting a painting feels like I’m a blind man being led by a river — I can discern the river in so many ways, but I can’t see the river. I intuitively perceive the painting the whole time, but I only see the painting once it’s complete.
It’s an improvisational process where the interactions make the painting feel like it knows what it wants to be. Even though I find promptings in my mind (a color, brushstroke, form, etc), when that prompt is applied it always turns out unexpected. There’s mystery that lies in the relationship between being able to control paint and letting paint be what it is. The proportions and balance between those two things generate this mystique within the practice that makes the paintings feel alive.
I think that feeling of being alive also can be seen in the idea that the mind extends outside of the body — that it stretches out into a morphing form that anchors into every location we’ve been to, every person we’ve encountered, every ideology we partake in, every memory we have, every dream we see, etc. I imagine minds overlapping within the shared spaces where social and physical bonds arise. In those places a kind of resonance occurs where experience can be shared and transferred a lot easier.
I see this happening with painting, where mind-space creates a unique resonance that can be transferred onto a painting-space. I think of each potential painting as a template created by the intersection between various anchor points in the mind. Each anchor point of thought becomes a harmonic that comes together to create a fundamental tone (a collection of harmonics), which would be the painting. As the body experiences the conglomerate of thought, it resonates the space of the fundamental tone, and therefore the body can then transfer that experience from the mind to the canvas through mark making.
There’s an old notion that angels are just ideas floating in the ether waiting to embody a prepared mind. I often think of some of the abstract marks on my paintings in this way — that they are idea filled forms waiting to embody a ready consciousness. I don’t think the idea-forms are dualistic, where they can be defined as something and not something else. They are subjective. The idea-forms connect infinitely to webs of thought-spaces to be explored. They become concepts in the realm of the felt intellect, ideas that permeate the mind through experiencing. In connecting to this old view of supernatural beings, the abstract marks become an angelic language.
My goals in painting these idea-forms is to open up a world of shared mind-space to experience the subtle energies in ourselves, nature, and each other. This transcends thoughts of self, tangling them into feedback loops of time, place, and others. My work contains a heavy nature influence which acts as a mirror linking us to the various life cycles found within nature.
Slipping in and out of the familiar through abstract mark making, I draw parallels between nature and human nature within my paintings. My shapes coalesce into landscape and figure, eventually dissipating into abstract impressions. The brush stroke becomes a vortex for multiple forms or ideas. My hope is that viewers will encounter their inner realities by engaging the work's limbo state.
Within this innate reflection, I question the potential fears and inspirations, the knowns and unknowns the observers might meet in themselves. This interaction simulates the sublime that landscape painting aspires to. It offers the viewer a choice or perhaps a door to the unrevealed, and in that choice I hope a piece of the viewer’s inner-landscape manifests.