P A I N T I N G S
For paintings in this first stage of my studio practice, my primary inspiration was sound, and my goal was to embody sound in visual form by using experimental procedures. Interestingly enough, I “see” ( feel?) corporeal energetic interactions when I experience sound so in a sense my references were still visual yet non-ocular. Emergence became a convenient name for the happenstances I was creating, reproducing, and capturing—not a scene or mood per se, but a spatial and temporal instance.
Of course, others perceived dimensions other than and beyond what I aspired to convey. And although approaching work methodically, I still had “copious taste to drench whatever’s in my wake / whether night or day, unconscious or awake”—a JXANDER way of expressing that I like fly shit, cool shit, and sometimes approach making from just being fresh and expressing how I view style; an an aesthetic exploration, yet adhering to the same constraints.
I discovered multi-sensory installation and interactivity to be 2 of the most powerful vehicles for delivering my perceptions. Nonetheless, these paintings were an essential part of my making and meaning-making process. So often, my ideas and their underlying concepts occur to me while working, like a static-electric discharge after sliding across carpet.
