We as a humans are builders by nature, and as such we fight against destruction. We attempt to stop the natural cycle degrading our monuments of human endeavor. We attempt to stop the breaking down of our edifices so as to keep in contact with our past. The monuments that we build are the physical and philosophical structures of industry that make up the whole history of human advancement. These monuments represent the physical manifestations of our past and present.
The automobile defines a large part of the narrative. It is the most sought after luxury item, while also being the instrument that represents our physical wants and needs. It is a human monument that has allowed the outside world to be smaller and yet it has separated us from each other.
In the monuments I’m painting, I’m explaining the rust and languishing of once used objects and imperfection. I’m turning the common narrative from aesthetic perfection and newness, to imperfection and the absence of the new. In essence I aim to illuminate the desires of “de luxe” to my esthetic preferences of “sans luxe”.
In oxidizing the forms in my paintings I’m dealing with the expectation of both what’s beautiful and what is appealing into an ethos of my own esthetic - the esthetic of the “rustzilla” and the “salvage”. It’s an esthetic that finds beauty and use in discarded and rusting monuments. My work portrays a less strict idea of classic formalism. It is representational in its way of personifying a thing, but relies on the form to illuminate a basic departure from it. It is a departure that allows for slight abstractions and interpretations from the pieces original design.
This transition from new to old, from object to thing and vise versa, has given me the belief that the fluctuations of the world are transcendent, that the Universe is in a constant state of degradation, expansion, retraction and emersion.
My work has led me to an understanding of the human difficulties time and nature play on our man made world, which has allowed me a window into the natural cycle of the universe.
It's a start to the resolution of a problem i've been meaning to solve: What's the visual connection between the "rustzilla's" and the natural world? How does the deposition of man made objects, such as the wheel, effect the natural state of "gods creatures".
The Answer . . .
The wheel: A symbol for the trust imparted onto science. It's the move away from "God" into an acceptance of reason and humanity and it's better virtues. God gave us fire, but we made the wheel! We are our own saviors. . . . It's from this perspective that I've created the "Rustzilla/Salvage " series.
Prying the mountains
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Nestled in an Arrangement !
This sucker has been in storage for 2 years! It was prepped and ready to paint - then it just sat as I transitioned to a new life and eventually new subject matter. Prepare yourself, i'm gonna paint the sh_t out of you!
Here i'll be expanding on my gold treatment to see how it can blend into the crushed car forms.
This will be the third work on paper I will have done for the Salvage series. I'm thinking of pairing down the imagery a bit to start with- we'll see were it takes me. It's always a journey ,never a race!
It turns out that gold is growing on me! It's a useful contrast to the crushed cars, helping to tie the formal and design elements together. It will become an element in most of these pieces moving forward.
The start to a new piece - leverage, dig a hole - the back sliding(not sure what to call it yet?). A painting that begins to ask more discerning questions about our current state of materialism and what it means to have self actualization . . .
So iv'e been neglecting my blog and must make amends. With that being said, here's a new piece on 300 lb. fine art paper intended to make my medium a little more diverse than just painting on panels. For now it's being called leverage, which is subject to change at any moment depending on it's visage. The idea is to fold these paper pieces into some older conventions iv'e used in the past in hoping that a progression will be shown more linearly.
These new paintings I'm about to embark upon, starting with "Idle Indulgence", are the continued look into the identity of objects and their progression into stuff or things which we covet and consume. I'm very excited about where these paintings are headed and am delighted to share them.
"Excess of Defect"