the exploration of two-dimensional work
initiated at rutgers university where i was enrolled in a graduate level
painting seminar course. i was surrounded by painters (and others who worked in
various disciplines) who displayed an outward disdain for ceramics as a medium,
and who were unable to move beyond the materiality of clay. the logical
response was for me to work on a series of "clay paintings.” the series
evolved to include "mold-prints,” "tarps," and a series of
stretched canvases documenting the interactions, time and physicality of
existing in a given space. from consciously applying material, to allowing its
own interaction to introduce traces of its presence, each series has produced residue
from a specific time/place/event. from the time of the initial advent of
the paintings, i have been more receptive to working outside the boundaries of
a media-specific agenda—expanding the two-dimensional possibilities to include
everything from the extremities of fired sand paintings, to more traditional formats,
such as prints.
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