A freezing of presence
A freezing of presence I am working with painting in the expanded field, where the work’s interaction with the surrounding environment is essential. For this reason, my works often take form as large installations or in situ decoration projects.
I take my mark in the idea that with a concentrated brushstroke, I can convey human presence by translating and freezing it solid onto a surface and also that I know full well that by transforming a liquid substance into a solid substance, I can immortalize the body's movement via a brushstroke. My jumping off point is also the notion of “an infinite painting,” where what I am showing is merely a segment of a larger painting and, as such, merely a kind of representative of a human presence. Accordingly, the complex of issues that are prevalent in the very genesis/execution takes on a great deal of importance and the body, motion and time become decisive key factors in my work.
I am trying to bring my movements with the implement (usually, the brush or the broom) to perfection and perform them as identical, mechanical and repeated movements, but the hand and the body will always reveal. And also - the format is determined by my body's own reach. This is roughly 3 meters, because I have to be able to drag a broom and its bristles down across the painting’s ground surface in one fell swoop.
It is my hope that this bodily relation to the painting can be transmitted further to the viewer as a body-object-space experience where he/she obtains a sense of being inside the painting and thus a part of something greater.