Identity crisis. I am trying to extend what a painting can do. The time warp again: Painting has a long timeline. I am using its trace of time, its prejudice, obsession, accomplishment and failure, to place the sensation of a mutating human and cultural identity.
To capture this mutation, I am interested in the shift of stepping into a painting, both literally and in concept. The human form is not always present in my compositions, but there are queues and props that allow the viewer to transition their own physical space inside the illusion. The sensation becomes an inside out figuration. My usage of framing devices is an effort to create a portal, much like a virtual space. For me my paintings are both literal and conceptual portals.
The canvas draws from ‘a greatest hits’ of painting and culture, often using an historical painting’s narrative/composition/sentiment as a conceptual structure that posits a reverse portal for the new work. The tension of tradition regardless of use, efficiency or functionality, the need to keep this façade or ritual of history in the present tense is the fulcrum between the varying forces coming together in the work. I then combine painted representation or gestural areas in contrast to actual found objects that vary from fashion to the banal, within the canvas. I allow a blurring between these painted illusions and the context of the found objects to reveal greater questions about figuration. The complications of markers such as gender and race for example, are explored around our shared and simultaneous sense of identity.