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q100 1a

My art makes the invisible visible.
Always near/er to the (he)art of Creation,

but never close enough, yet....

Slideshows of work uploaded 13 and 14 March

http://goo.gl/UQbaS

Links to videos of my paintings at YOU TUBE

http://www.youtube.com/watch?v=kPFgKwZvLx0

http://www.youtube.com/watch?v=xD7tC8Hmjpk

http://www.youtube.com/watch?v=-Hfo1UsSL58

http://www.youtube.com/watch?v=yW7b72aRj94

The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair ,
but larger works are experienced (like installations) as if one is part of them and participate in them.
Now that you know this please do not treat these images as if they
are just more objects or things you look AT,
but experience and participate in them.

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Portfolios: work 2011-2012
Location: France

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Comment by Resident Curator on August 25, 2016 at 5:30pm: Curator’s Comments:

This particular painting appears very process oriented to me, and viewing it within the context of your remarks made me think more about the impact of scale. While you don’t include the dimensions of this painting, I do agree with your general assessment of viewers’ response to small paintings as objects, and larger spaces as participatory environments. But I think that differentiation also comes through with the stylistic approaches and subjects. I do see this work as experiential; the gestures of the marks combined with erratic/accidentally controlled brushstrokes suggest a haptic approach and intent. But I have also viewed some small paintings as though they were objects, and rather than denigrate that experience, I could argue that this is also a satisfying way of seeing. The creation of a precious object/subject slows down the eye and produces an intimacy in the viewing experience. Your work Copy for Wassily perhaps mediates these two interactions, as it has denser areas of texture and opaque color, and compositionally suggests a more singular mass of positive space. While the painterly mark is still active within the picture field, I don’t necessarily get the feeling I’m looking at a work about something; it is something.