Hidden Beneath: layers, geological time, representation, obfuscation, and discovery

I am intrigued by patterns - patterns and textures of surfaces. I find myself looking for them in our visual culture, it's as if I am excavating some glimpses of memorable textures from the visual chaos that I experience every day. I remember seeing the surfaces of billboards close-up years ago when I was a billboard painter. I remember thinking of the work that someone committed to in making a huge, hand-painted sign or billboard. Billboard imagery was created quickly, and was visible only for a short period of weeks, before being painted over by another image. The surfaces were degraded and often weathered by the seasons of my local Minnesota weather. They were the surfaces of peeling paint, flaking paper postings, half-visible letterforms, and faded colors. Sometimes the paint chips had hundreds of tiny layers of color - much like the agates of Lake Superior. I remember thinking about the time that was contained in those small colorful chips - of the moments when someone decades before painted on this surface, in this space. Occasionally, I would be surprised find a small chip with pieces of different layers chipped away, revealing some strange, surprising, combination of images. I think it was then that I became aware of the expanse of time - one part of the chip from years before, and another from just last week. I also remember adding my own story to the visual geology of the billboards, I know some of the images that I painted then, still remain hidden, somewhere. I see this work being connected to those moments. I try to work a sense of layered time into these pieces and allow the viewer to experience the archaeology of viewing a fragmented piece - and the joy of discovering some unexpected connection and meaning through the work. I hope this encourages people to imagine what came before, and what may be beneath.

5/15/2017 Artist Statement

This week, the theme of artist statement writing came up again in the Studio Coffee discussion. I thought I'd give it another try with this new work. I typically write one with every new set of paintings - then another one every 2-3 years from more of a macro point of view. These last paintings (finished Dec 2016) have really beat me up.

I have worked on these since the summer of 2014, and 3 of the 9 painting series never resolved. Each day, I reacted to what I painted the day before - building up layers over time, creating a dialog between now, and then. The work seemed most to me like a musical improvisation - one tone, rhythm, pattern, or contrast, reacting to the others. I don't think I really ever gave myself permission to paint in this way - to really paint as I would create music - I have been a musician for a long time. Part of the joy that I find in making music is in the connections that someone makes with another musician - while playing together. That dialog evolves and defines the musical passage or piece.

Since the completion (Dec 2016) of my most recent series, I see how my paintings recall for me the endless stream of images that I see on my phone, the television, media - I must see hundreds or even thousands of images in a day, a week? It occurs to me that what I am really becoming aware of is time passing. Like in a film, a sequence of images flickers past my eyes. Billboards (I was a billboard painter), ads, television, smartphone, social media, video games, selfie photos, endless list of posts, likes, and reactions inundate my perception - streaming in and stringing back, falling away from the ever changing present.

Painting in layers stops that for me - each layer a gathered fragment - each painting a collection of inter-connected moments. I recently saw some work where an artist (Jason Shulman) combined all the scenes of a film into one image - an atmospheric, time-lapse-like, single image that represented the film in a way that time was really visible in the forefront. I think that I too am developing an awareness of this compressed-time through these paintings. I wonder if all the streams of data that we are leaving behind - the pictures, posts, likes, reactions - the data of our lives, is going to be lost? I think that my work becomes a sort of visual archaeology - I find myself looking for, remembering, and reacting to these visual fragments. This dialog happens in the paintings, and I often realize that I am seeing a cloud of moments, places, glimpses, and memories.

Work on updated statement

New 8/10/16:Been doing some writing to help me to clarify the work that I have been making these past 10 years or so. My dear colleague, Melissa Borman came to the studio last week and in our conversation gave me some great feedback! It was also nice that my long time friend and paint partner, Ed Charbonneau was there as well and we got into it as well! A great time talking art. So, I thought I'd post some of the writing that I am doing

Some Notes: My work is about the inward facing atmosphere that can be gleaned through juxtaposition and the convergence of multiplicity. Weather I am working between moments in a reactionary way, or deliberately combining multiple patterns, images, or data, I believe the limbo-esque state that exist in-between moments of action, or the juxtaposition of sets of data, reflects the true nature of how we understand the world. In our world, we are tracked and studied through online analytics - gathered hourly, monitored, trends are identified, and assumptions are made. This data is interesting in itself. How the data changes to create trends does help us to understand future behavior. Is the interpretation of this data and the fascination with it creating a new perception of human reality? Are these data piles forming a new definition of what it is to be human? Are more and more people relying on data, trends, and social media feeds to define what is real? Running feeds of desires, statements, philosophies, and arguments leave trails in the topography of our outward facing lives. Can some of these trends point to an outward-facing identity, a sense of self that is increasingly becoming reduced to false statements of fact, slogans, posturing, image, and observational relationship? My work brings some of these outward assurances together in one place and space to jumble through and past one another. Through this juxtaposition of layering, spaces, and comparison, a cloud of meanings and interpretations that more accurately portrays the beautifully chaotic world that we live in forms like the steam on a mirror.Rejecting singular definitions of self, society, culture, and place, for multiple ideas, possibilities, potential realities. These populate a atmospheric clouds of collective understanding that defy any singular constraining definition or measurement.
I am a painter with a background in Visual Studies, Music, and Public Art. In spite of our necessary belief in the traditional definitions of time, space, and present-ness, our definitions continue to evolve. Our concept of self, and our perception of physical reality is ever changing, being reinterpreted, and broadened as we come to terms with multiplicity in our social interactions and projections, constructions, and in physics.

Of Landscape

Thinking today about time, place, image and reality. With all that we know now about place, time and our perceptions of that, how would I create a landscape that could be true to that? I mean, if I were to try not to create a monocular view of the world, a modernist singular view, then what would that look like? I think it must be multi layered; at least with multiple quantities considered. Take, for instance the traditional norms of the western landscape. Broad , majestic vistas, beautiful light, important objects (buildings, flowers, trees, fields... etc.) are captured in a way that has become over time canonistic. This cannon is a singular view locked into a representation from a singular translator, moved by emotion, light, and lore of place. There is absolutely nothing wrong with this, except I think that there is so much more about that place that is depicted, on so many micro and macro levels. I should make an attempt to acknowledge those bits of information.
On my journey, I encounter micro and macro realities, the strange anomalies of sub-atomic particles, realism, idealism, mapping, theories of existence, emotion/perception, hidden realities, multi-dimensional reality,  pluralism, fractals, and I react to these things in my current work to create a landscape that is a reaction and dialog with these realities of contemporary existence.

Labyrinth, GPS, Wayfinding, and Work

Just a little note, I am working on a new body of work soon to be released. I have expanded onto Facebook working to post there, some recent paintings. This new process seems to be working well and I am considering posting regular updates here and on Facebook regarding my progress.
I am collecting:
Leaf patterns
GPS coordinates of those patterns
360 degree panoramic video of the location
spoken journal

Wayfinding...

So, I've dropped out a bit lately. I've been doing research about Labyrinths and what they might have to do with my work. Progress is slow, the studio is still calling. I've 3 paintings started, working hard to help realize them. If you get a second, check our www.labyrinthsociety.org for information. You can always trust a Labyrinth.

Shifting

This week has presented interesting avenues. I am constantly encouraged by my colleagues and my students to keep searching for the next thing...sometimes that thing isn't really 'next' but might be 'beside' or 'behind'. I wonder often about how linearly we are conditioned to think and experience the world. The next thing must follow after this current thing...I'm beginning to realize that the next thing might just be next to me or beside me, concurrently and present already. It is my conciousness that shifts, not my logic or any pre-scripted step, to bring me onto the new avenue.