a mural about the void
Approaching Zero
a mural about the void
Created for the occassion of the commissioned art program at Chandra Cerrito Contemporary September, 2019.
I have a crush on mathematics: call it a hobby or a fascination, but
for me it is a passionate (if one-sided) affair. My work uses precise
measurement and calculated repetition to consider the division of
space and the infinite series of sequences that make up the universe
-- or at the very least, those small pockets of the universe that sit
between my paintings and the viewer. My practice of painting is rooted
in an exploration of geometry. Early on in my life I was pretty good
in mathematics - I was not at the top of my class however, I was above
average. That was a long time ago. I have left the precision of
numbers and equations far behind for a more intuitive approach towards
defining, or reducing, a surface to basic spacial features.
One thing that I find interesting about numbers is the idea of zero.
It is the opposite of a value, a non value if you will. Another thing
that fascinates me about math is the concept of an irrational number -
a value that cannot be expressed by a fraction. One example of this is
found when graphing a tangent function. In doing so one is left with a
series of curves divided by a frequency of vertical asymptotes -
points on the graph where the function is undefined. There are points
along the graph where the lines never touch. They venture into
infinity, getting closer and closer, yet they never connect. I have
taken some poetic license with these two concepts and combined them to
represent the intangible aspects of creativity - the undefinable
moments of creative process - Approaching Zero.
With this painting I began the process with the eastern wall of the
gallery. Taking its shape, I reflected the pitch of the ceiling into
an “x” across the center of the wall. As a result the “x” defined a
diamond shape in the middle. The fade to white in the heart of that
shape is my interpretation of zero, as defined by my own irrational
process.
acrylic on canvas
51.5” x 46”
2019
This composition reflects the continuous repetition of the line - continuing on into infinity - beyond the edge of the canvas. I used six different yellows to complete this palette. I love how your eye can only read three or four. If you can see more, please let me know - perhaps we can develop a palette for a future painting together…
acrylic on panel
20” x 15”
2019
From the moment of completion things begin to unwind. A natural progression towards disorder or the gradual decline. We all do what we can to counter this force - go to the gym, sweep the floor - whatever it might be. I like to think of those efforts as negative entropy - working towards order. This painting is my representation of that idea.
acrylic on panel
38” x 31”
2019
The title of this painting is a reference to a Lou Barlow song. I had the distinct pleasure of seeing him perform during his 2019 small venue tour in Oakland, CA. As a long time fan this was a huge occasion for me. He proceeded to blow minds with his music and anecdotes about his prolific catalog. One that particularly resonated with me is his story about the title track for his 2015 effort Brace the Wave. He referenced an image made by a Russian romanticist painter about a boat in a massive storm at sea. Barlow said he wrote the song about relocating and how he was preparing himself for the change, bracing the wave. Doing what artists often do, referencing art through the art that they make, I took that baton and ran with it. The title of this painting comes from a lyric Barlow wrote for the title track of his 2016 effort, Apocalypse Fetish. Pretty sure it is about the tyrant which, at the time, was the 45th president of the USA.
My apocalypse on hold was that I was desperately hanging on to the art studio I had worked in for about 15 years. It had become increasingly difficult to afford the space - a storefront on 40th St. in North Oakland. With property values skyrocketing and deep pockets moving in artists were getting squeezed out - it’s an old story, I know. Anyhow, I had made an arrangement that kept me in that beautiful space for a little while longer. The world that was my studio had its apocalypse on hold, however trite it might sound. I eventually moved and have built a cozy studio in a detached garage of a Tudor style bungalow in East Oakland. Might be the best thing that has happened to me yet.
steel
8” x 6” x 3”
2018
This term is borrowed from the lore of baseball. It is a nickname for a catcher’s protective gear: shin guards, chest protector, and face mask. It is a beautifully ironic phrase comparing the intelligence needed to be a good catcher with the ignorance required to put yourself in a position that demands such a level of protective gear. My artistic licence is in play here contrasting the experience needed to render the materials used in such a simple, balanced form with the willingness to put yourself in a position that requires loads of protective gear: face shield, heavy gloves, and a thick leather jacket to shield yourself from the extreme heat and sparks caused while welding metal.
steel
9” x 7” x 9”
2018
plywood
31" x 32" x 31"
2017
acrylic on panel
32" x 17"
2017
acrylic on panel
41" x 26"
2016
acrylic on panel
30" x 31"
2018
acrylic on panel
32" x 60"
2017
The title is borrowed from a term used in Philip K. Dick's novel, The Simulacra. The Bes, as they are referred to in the book, are the ones who carry out their instruction.
The Bes and the Ges are two societal classes that make up the fabric of the characters in this great science fiction thriller. My poetic licence here is reflecting on the the two states of my mind in creating this painting and its partner. One, holding the secret of how I executed Geheimnistrager. The other, Befehlstrager, merely following the instructions of what was learned creating the former.
acrylic on panel
19" x 20"
2017
Like Befehlstrager, this title is borrowed from a term used in Philip K. Dick's novel, The Simulacra. The Ges, as they are referred to in the book, are the ones who are the bearers of the secret.
The Bes and the Ges are two societal classes that make up the fabric of the characters in this great science fiction thriller. My poetic licence here is reflecting on the the two states of my mind in creating this painting and its partner. One, holding the secret of how I executed Geheimnistrager. The other, Befehlstrager, merely following the instructions of what was learned creating the former.
acrylic on panel
36" x 74"
2016
acrylic on panel
62" x 63"
2014
This piece is composed of 9 different shades of white. There are 9 titles in total for this piece:
An Image of the Absolute or, Base Nine, Triad of Trios, Efficient Coefficient, Chosen by Chance, It Goes Down in Sections, New Structure - New Language, Yes! Yes! Yes! Yes!, Into the Whites
The subtle shift of whites plays a wonderful trick on the eye. At best you might only see three shades of white online (this is fairly difficult to document). Even in the original it is hard to see all nine shades. However, the effect on your brain is quite spectacular.
I had a glorious opportunity with the Parent Artist Residency program at Kala Art Institute. I focused all of my energy on creating a large series of screen prints. Here is some of that work
screen print on Arches Cover Black
22” x 20”
…
screen print on book board
38” x 26”
…
screen print on handmade paper
42” x 31”
…
screen print on book board
21”x 19”
…
screen print on handmade paper
41” x 38”
…
screen print on book board
38” x 26”
…
screen print on book board
38” x 26”
…
