These are paintings that were made out of other paintings. Paintings that are paintings on paintings. Collages of dead paintings that are not dead anymore. Now they are living paintings again. Just needed a fresher upper. All are acrylic on linen and wood with tacks. These are the most stretched of the unstretched. Actually, these are all stretched. Just as far as they can reach. They are pictures and objects. The paint was applied after they were stretched. That is something that has not happened for a while. Back to roots.
These paintings are loose. Choices about how the fabric would cling or wrap around the support of the stretcher bars was determined before the color and shape of the paint was applied to the surface. The fabric was then taken off the support to be painted flat. Then the structure would be built again when the paint was dry. Sometimes it was hard to wait for it to dry and the paint would get fucked up. All are acrylic on linen or canvas and wood with tacks. Some of them have been known to bend and curl even more in high humidity. Like house plants or photographs on the fridge.
These are the first of the paintings on linen. A material choice that came out of a misconception about seriousness. Or maybe it was the earthy color of the fabric, and the weight and strength of the weave, that hooked it as a material evolution. And the rolls were on sale for half off for like a year or more. Creases were made for the place mark of the stretcher bars. Paint was applied either within that frame or outside of it. The stretcher bars hang on the wall and the paintings are stretched as tight as possible over the bars, tacked directly into the wall. This is not an easy task and makes the fingers hurt when installing. All are acrylic on linen with wood and tacks. They have been described as ramps. But perhaps they could also be thought of as skeletons, or hearts, and skin.
These are the first soft and malleable paintings. The canvas had another life as cushion covers for a couch. Six of them: three seats, three backs. Acrylic and spray paint were applied to the canvas. Then a wood structure was placed inside the canvas, and the canvas zipped up. The original wood structures were drawers from an old dresser. Too heavy. Later, wood frames were built and used as the unstretcher bars inside the pillowcases. They rest on the floor, upright, paint on all sides. Tombstones. There were mice in the warehouse studio where these were made, and one of them ate a hole in one of them.
supports and surfaces
These works vary in scale, material, form and story. They cross over the years and do not belong to one body. Most of them do not exist anymore or have become something else. What brings them together is that the support and the surface are one in the same. That, and the sense that one could enter it or perform on it. Some of the materials: canvas, found wood, laminate, posters, fabric, hardware, acrylic and spray paint. Often they occupy both wall and floor. Tethered. The intersection of wall and floor, a beloved site. This is where one, or the work, makes a turn from horizontal to vertical or the other way around.
This body of work is the documentation of ephemeral drawings on the body. For one year, one drawing was made every month. The parameters for these drawings were only that lines would be drawn from one freckle to another freckle on the thighs. Eyeliner was used to make the drawings. New constellations were created each month. Cosmic astronomy was consulted.