108 forms



This is an oil painting that is 11 by 14 inches and was created in 2014 the space allocated for each form is a 1 inch square The surface, for this piece, is a sheet of matte "Dura-lar," a plastic substrate produced explicitly as a surface for painting. the drawing was done first in 005 black micron pen, and then finished in 05 black micron pen. The grid was drawn in graphite on paper and put under the translucent Dura-lar, the lines of the grid were done very thin with a 9h pencil, and the nodes were darkened, slightly thicker + marks. The grid was used as a guide and is not included as a part of this painting.
The forms are rendered in oil paint using a simple system of light flesh tones composed of 4 pigments
At the time this was done it represented a point of resolution, realizing a set of ideals that i had unknowingly been pursuing since the initial conception of this scribbled forms series several years prior, and as such, it also represents the beginning of my exploration of the broader exploration of this concept abstract of those ideals. Those unconscious ideals were:

- a painting that, as an object, is competitive with modern mass produced products in terms of its sterile, artificial, alien, automated craftsmanship
- a drawing of effortless lines that are strong, crisp, and clear
- a painting in which the process is each step is seen in the finished work
- a color system that engages the random marks to render forms that are evocative of flesh
This work was very satisfying to me, but it wasn't really meant to resolve these ideals, they were just things that i wanted, without really being aware of it. Recently Andreana Donahue (http://www.andreanadonahue.com) and i visited the studio of painter John Seal (http://www.johnseal.com) in Los Angeles. One of the things that John expressed to us is that in his current works (a fantastic series of still lifes that have an incredible effect of embodying a thoughtful process of direct observation and painting by addressing each part of the subject individually, subtly defying the impetus to render a cohesive image) an unresolved question for him is the question of what it means to paint a still life today. In a similar way, my primary intention for this work, as for many of my works, was to figure out what it means to paint, especially abstraction, “today,” by breaking the process down into its component parts. Ultimately the problems that got solved were not the broader ones asked, but the more specific ones that introduce themselves in the course of the process. those problems are the consequence of my own choices of course, but often they are unintended consequences, or at least not knowingly intended. To render random forms to find their inherent expression, and to marvel at their infinitely heterogeneous nature as a window into the unknown within myself is my intention - but to do this requires pragmatic choices to be made about materials, substrate, color, scale. This work, thus, may represent the end of my naive understanding of this system in theory, and the beginning of a genuine exploration of it in practice