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"The painting is not on a surface, but on a plane which is imagined.  It moves in a mind.  It is not there physically at all.  It is an illusion, a piece of magic, so that what you see is not what you see-Philip Guston

My paintings are predominantly constituted of oil paint mixtures, graphite and charcoal interlocking atop the surface of clay panels. It can be perceived as though the multitude of exposed layers are a diagrammatic suggestion of notation, juxtaposing the faces of neural pathways and emotive reactions to memory. The practice of pouring and sanding facades is to deliberately unveil the chronology of a painting's emotional thesis. The work is to suggest a simultaneity of time via an exploration of visual systems, self contained logic, and internalized iconography. In preserving the faint suggestions of what was erased, constructed and removed, I intend to hint at forms of psychological graffiti. It imbues something which is essentially abstract via a historical and narrative framework that communicates without being literal. 

My series of drawings "Mapping of a House/Structure and Incidence" started in the mid-2010's ascertain a similar logic in employing marks made initially through a cartographic blind contour process intended to realize structures which house childhood memories. I feel my way around the page as to explore the architecture and furnishings of the house in which I grew up utilizing charcoal- a barometer for my recollections of rooms, stairs, closets and doorways. In returning to the blind contour, more deliberate decisions are made to enhance the visual power of this trance-like exploration. My recent vision has been to interlock the drawing and painting processes in unison.

..As a thing the way is

Shadowy and indistinct,

Indistinct and shadowy 

Yet within it is an image 

Shadowy and indistinct,

Yet within it is a substance

Dim and dark, 

Yet within it is an essence...

-XXI Tao Te Ching, Lao Tzu

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