I work in cycles and series and projects, often several concurrently, compulsively, relentlessly, trying to understand. What is left, my work, is incidental to the process, organic in nature, a compendium of moments in a journey.
It is the passing that I try to cultivate, the happening of a painting, a sensitivity to the magic of it's appearance, the music that comes through, synesthesia. Painting, art, is a pantograph; as the hand moves, the mark is made. At root, it is a mechanism for turning moments into meaning. I feel that in my work, I try to recognize when a picture is flawed in the most meaningful ways, and then stop. Make the next picture. In that way a history can be devised; a mythology of the artist as an experiment.
But there are always negotiations, and so much labor, and guessing, and questioning of intentionsthe circles the mind draws on itself. The pictures are always rooted in life, in my memories and experiences, but I try to create them so that, for my audience, different facets of reality can be brought to communicate in the same visual space. The pictures are then a representation, but also an invention; an expressive collection of movements, but also a formal abstract system, both a statement about my vision, and a stage for the viewer's imagination.
I think of my pictures primarily as American.
They are a form of dance, I think.
JQ, November 19th, 2013