Ultramarine and scarlet fluting in silver
6 x 6 x 1 in
Gouache and Mineral paint on MDMF Panel, ready to hang.
This painting is part of the series: Friendship circles: give and take.
Friendship circles: give and take plays with the idea of giving and taking in relationships — and the reciprocal influences and transformations relationships incite, constantly, together.
Friendship circles: give and take is part of my Deep Fake project.
The paintings in Deep Fake reference the notion of “fake depth”, named after the term Deepfakes (a portmanteau of “deep learning” and “fake”) which refers to synthetic media in which a person in an existing image or video is replaced with someone else’s likeness.
I use a combination of Gouache and Mineral paint for their opaque, ultra-matte velvety surface quality which absorbs rather than reflects light.
The process of making these paintings is formulaic, and involves mixing each hue to just the right value so that all shapes in the composition move forward and backwards rhythmically. Like scratching away the silver wax on a lottery ticket to see the worth of what emerges, I never know if a painting works until the last color is filled in. Then I make adjustments until it sings. Singing means they vibrate between multiple forms / relationships / planes endlessly and non-hierarchically. They at once give the viewer something to chase/navigate and somewhere to rest.
A peacock’s feather, an abalone shell, a soap bubble— these surfaces demonstrate the relative-to-light illusion that is color. When a form is unstable, embedded in the experience of seeing it is the sense of chasing it. In these paintings I’m searching for a vibration that offers both rest and revelation.
6 x 6 x 1 in
Gouache and Mineral paint on MDMF Panel, ready to hang.
This painting is part of the series: Friendship circles: give and take.
Friendship circles: give and take plays with the idea of giving and taking in relationships — and the reciprocal influences and transformations relationships incite, constantly, together.
Friendship circles: give and take is part of my Deep Fake project.
The paintings in Deep Fake reference the notion of “fake depth”, named after the term Deepfakes (a portmanteau of “deep learning” and “fake”) which refers to synthetic media in which a person in an existing image or video is replaced with someone else’s likeness.
I use a combination of Gouache and Mineral paint for their opaque, ultra-matte velvety surface quality which absorbs rather than reflects light.
The process of making these paintings is formulaic, and involves mixing each hue to just the right value so that all shapes in the composition move forward and backwards rhythmically. Like scratching away the silver wax on a lottery ticket to see the worth of what emerges, I never know if a painting works until the last color is filled in. Then I make adjustments until it sings. Singing means they vibrate between multiple forms / relationships / planes endlessly and non-hierarchically. They at once give the viewer something to chase/navigate and somewhere to rest.
A peacock’s feather, an abalone shell, a soap bubble— these surfaces demonstrate the relative-to-light illusion that is color. When a form is unstable, embedded in the experience of seeing it is the sense of chasing it. In these paintings I’m searching for a vibration that offers both rest and revelation.
6 x 6 x 1 in
Gouache and Mineral paint on MDMF Panel, ready to hang.
This painting is part of the series: Friendship circles: give and take.
Friendship circles: give and take plays with the idea of giving and taking in relationships — and the reciprocal influences and transformations relationships incite, constantly, together.
Friendship circles: give and take is part of my Deep Fake project.
The paintings in Deep Fake reference the notion of “fake depth”, named after the term Deepfakes (a portmanteau of “deep learning” and “fake”) which refers to synthetic media in which a person in an existing image or video is replaced with someone else’s likeness.
I use a combination of Gouache and Mineral paint for their opaque, ultra-matte velvety surface quality which absorbs rather than reflects light.
The process of making these paintings is formulaic, and involves mixing each hue to just the right value so that all shapes in the composition move forward and backwards rhythmically. Like scratching away the silver wax on a lottery ticket to see the worth of what emerges, I never know if a painting works until the last color is filled in. Then I make adjustments until it sings. Singing means they vibrate between multiple forms / relationships / planes endlessly and non-hierarchically. They at once give the viewer something to chase/navigate and somewhere to rest.
A peacock’s feather, an abalone shell, a soap bubble— these surfaces demonstrate the relative-to-light illusion that is color. When a form is unstable, embedded in the experience of seeing it is the sense of chasing it. In these paintings I’m searching for a vibration that offers both rest and revelation.