I’ve been destroying a lot of things in the studio recently. I became frustrated with my attempts to achieve anything with the historical language of painting so I covered my work in thick layers of industrial paints and took the canvas from its support to tear, crush, and drag it like a carcass around the studio. These fragments of paintings became the basis for works in which intense emotion and cold conceptualism exist simultaneously. I formed a grimy, human minimalism: piecing the work together using the broken monochromes, stained, aged, raw canvas, and other studio detritus (cardboard, packaging tape, plastic sheeting) using sewing machines and staple guns. There is an intensity in the tension of the stretched seams between fragments and the fracture of violently disturbed paint that expresses the impossibility and urgency of both painting and living that I felt couldn’t be achieved by just moving paint around.
BFA, School of Visual Arts, 2012