Short statement, 2020
Drawing (Parentheses), 2019
Reliefs, 2016
Each painting impearls around a drawn contour that transverses the rectangle of the canvas in straight and curved vectors. The position of each segment in the contour may be determined by intuitively connecting points of interest that I read at close quarters in the surface: textures, edges, corners, intersections, like a mapping; or contours may evolve out of a rhythmic, syncopated logic. I rarely allow lines to cross over each other, because I want to maintain a close proximity to the two-dimensional surface. Spatial illusion occurs not through drawing, but through color, and is shallow, like a carved wall relief, so the painting is neither a window, nor an object, but something in-between. The drawing relates to the scale of my body in relation to the painting, with segment lengths informed by the length of my fingers, hands, forearms, shoulders, and torso; the angles and curves follow a geometric logic derived from my physical range of motion. With the contour I travel the painting and simultaneously trace my travels, leaving a kind of map (with a 1:1 scale).