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My art is expressive of rhythms and thresholds that emerge through motion and flow. Our perception is grounded in rhythms that we passively ascertain from the flows of the world. There are rhythms everywhere, but our worlds are composed of the rhythms that are meaningful at human speeds and scales. All else remains invisible.
When I first started with abstract acrylic painting I used paint that has been mixed with various chemical additives and layered, heated and spread in ways that created convection currents and movement. When the canvas was fully dried, I always felt like the flows of paint had come to resemble dried flowers. They are still beautiful but there is an undeniable change in the cells of the flower or in the allure of the paint as the water evaporates. I always felt some hesitancy to share my paintings with people because the finished piece was but a husk of what I had seen during its composition. This is why I decided to base my art on solutions to this problem: How can one transmit the essence of the wet paint in the moment when it is brimming with colorful fluid-filled cells?
One of the solutions I came up with involved photographing and filming the most attractive areas of the canvas using macro imaging equipment and then enlarging the tiny original spaces to up to twenty times.
In the two stages of my artistic process, the first involves layering the paint and then setting it into motion. The temperature, consistency, pigments and chemical balances all interact in a way that makes it difficult to predetermine the interaction of the colors. Therefore the biggest danger of the first stage is that no flows of interest would be produced. Maybe I did not add enough water. It was too cold in my studio. The colors did not retain their boundaries, and so on.
The second stage involves selecting and capturing the flows of paint when they are visibly at the perfect balance between chaos and cosmos: the Chaosmos. My canvas is generally less than a 3×2 inch area that I light with LED lights and photograph and film. While the paint is most active I have to quickly identify areas that show the most potential to change and evolve most dramatically and then get those areas under the macro lens and in focus before the points of motion have dissipated.
As this process yields no “original,” digital reproduction of the captured flows is required. I am currently exploring various new printing options and oversize display technologies for moving paint films.