Tuesday, October 15, 2013

Final Projects in My MFA Series

Some people may have seen my recent works in progress posted to Facebook and thought that I had gone a bit mad, just splashing seemingly random and muddy swashes of paint all over a giant canvas.  I know that most people have the reaction of "anyone can do this, when they see the giant mess I'm making.  But, I promise you, there is a method to my madness, and I'll do my best to describe my method and process to you.

Short summary of previous works:

My first series is based on capturing the physical imprints of my body upon a surface.  The images consist of my physical body in addition to marks and imprints that were unforeseen as a result of my working in the dark.  What this reveals is the underlying psychological process associated with the memories I have based the images off of, or more simply, the memory of my body unintentionally making itself known on the surface that speaks a clearer truth than my preconceived ideas.

My second series utilizes the methods I discovered in the first in that I use the intuition of my carnal memory to produce an image.  These paintings are different from the photograms in that the method is more deliberate than the unintentional recordings resulting from working in the darkroom.  In fact, I used my iPad to record a quick memory/intuition fueled sketch, that I then referenced as a intuitive compass as I worked in a much slower larger scale.

My final series will be two large scale paintings composed of multiple layers of tinted blacks.  For these pieces I am actually drawing inspiration from another artist's methods concerning a specific set of works: Mark Rothko's Rothko Chapel paintings.  These paintings are composed of many layers of uneven black washes that are different tints.  When you first look at them, you don't see much but black.  However, as your eyes adjust, you begin to see the layers of subtle colors that pull you into an infinite depth.  As Rothko put it, 

My works take the concept of creating a limitless space upon the canvas, but instead of applying the concepts of universality and infinity I fuel my expressions with intensely personal carnal mnemonic responses.  I perform each wash with an intuitive anchor, like the iPad sketches, only this time the anchor is musical.  I have been performing musically from as far back as I can remember.  Indeed my earliest childhood memories are performing singing and dance numbers on a stage for an audience.  That being so, music has embedded itself deep within my psyche, and nothing can recall the physical chemical responses associated with the memories of a period of my life like music can.  As soon as a song plays it's as if I step into a portal and relive those most potent memories of my life.  With this technique, each pass of color on the canvas becomes a physical marker of the memory within my body, building a map that displays not the response to an isolated moment or time period, but a window through which you can perceive a lifetime of experiences of joy, sorrow, love, hatred, envy, and every other hue of the emotional spectrum that paints my identity as a human being.