Translation: change within the painting should lead to it’s own conclusions

The universe is huge and there is little we know about it. In an attempt to understand our world we try and document it. There are many ways to record information and different ways to understand the recorded information. There is always a space between the world and us and so gaps are formed when translating and sometimes meaning is lost in the between.

As an artist it is important to build bridges between these gaps and discover their intersections in order to understand the relationships and how they connect in your artwork. At first it is essential to pay attention to the world and discover your individual sensibilities and then to make distinctions about what information is stimulating for your artwork and what is not. Everything is there in the world it only needs to be engaged. A second kind of decision making must go on when you select specific elements to put in the painting. The choices and changes you make using the transformative possibilities of information to animate the work makes it more or less significant.

Change must go on within a painting in order to discover the most animating relationships. We should be careful not to fall into the momentary satisfaction of controlling a situation within a painting, but allow the canvas to be a place free to explore and actively investigate information gathered from whatever environment or stimuli. Without too much effort this play of change within the painting should lead to it’s own conclusions.

Together all choices make an individual language and establish a voice in your work that can be heard. As you build strong relationships and a body of work with your language you are able to then take risks. When the work has a feeling of believability, or the artist conviction is strong, failure becomes possible. It is by questioning the established relationships that one can begin to explore the fragility of artwork and discover its vulnerability. Taking risks is another form of investigation because you don’t know where those risks can take you. By putting everything on the line it is possible to create delicate balances and connections within the work that give it a feeling of poetic fact. It is rewarding to look at a painting with a presence that is concrete and yet feels momentary as if it were simply a point in time that will soon pass or a strange and fragile compression of multiple times into one place.