Gaping Maw 11/25/2023

Subjective Human Experience

I demand the proof of conscious decisions exemplified by a physical presence in my painting. This can be accomplished by avoiding all deliberate attempts to fabricate an illusion of representation with the use of any medium. Representation, in this context, is referring to any and all aspects of the observable nature world that can be captured, depicted or reproduced by any means. In order to successfully maximize the potential of this concept while minimizing the unnecessary artifacts left behind by subconscious decisions, I recognize that certain arbitrary decisions should be made so that the painting survives the creation process and can conveniently exist as a functional painting. This also includes accounting for the paradox of the “Self-Devouring Painting”. This is referencing the inescapable truth that any painting, which is physically produced, is vulnerable to being reproduced, thus converting the original painting into a reference for the new piece and potentially manifesting a new symbol represented by the original piece. This scenario exemplifies the arbitrary boundaries that can be set for what can be considered “representational” as to not devolve into a philosophical debate as to what is objective imagery.

The subconscious urge to perform a familiar motion during the application of paint as a result of the innate human desire to manifest a recognizable presence of observable nature presents a major challenge as it should be avoided at all costs. There will certainly be a struggle in any attempt to not desperately grasp for the comfort of retreating into imagery and familiar subjects while creating this painting. Exploration and limit texting of these rules should allow for further development of approaching the goal of the “ultimate” for this specific concept. The process for the production of these paintings are ultimately a means to an end, this should prove that the painting is only a reference to itself and no external factors.

Gaping Maw 11/22/2023

Convulsive, Cathartic Exorcism

There is a certain kind of painting that I believe can only be manifested while I am completely alone. This work is created not only isolated from the presence of other people but also isolated from my own sense of sound and sight. Only in the absence of others can I have minimal inhibitions and be the most honest Painter humanly possible. The honest self is my true reality in that others’ gazes inhibits my knee-jerk reactions and often forces me to curb my most genuine instincts. While constructing these works, my observational skills should be limited to the intimate, tactile relationship between my body and the canvas. These paintings serve no depth beyond the narrative of its conception. To imply that something should be present, or that there was a specific intention for a particular form, would be dishonest to this painting. The relationship between me and the painting should be intimate and immediate. It is during this isolated painting session that I feel an intensely cathartic energy that generates from my mind into my physical body and out onto the canvas.  It is for these reasons that I feel obligated to approach my work with the serious intention of focusing on paintings that are only possible when there is a critical lack of inhibitions. There are, of course, still predetermined boundaries that ultimately decide certain aspects of the work before the creation process even begins. Boundaries such as the physical shape of the painting along with the medium being subjugated to a particular space on the canvas. I choose to have these pieces exist as paint applied to raw canvas with the intention of creating a conventional painting that does not question the arbitrary aspects of the rectangle. The intention is to relocate the material to its confined space so that it may function as a plastic vessel for interpretation. I am constantly asking myself questions about if any of this is working or if I am even making “Art”. The plan is to iterate on this process until I feel that I am consistently successful in making work that is obviously created by a conscious and corporeal presence.