2002-3 click to enlarge
Painting and drawing are systems of recording and ordering visual information. We live in the vast, complex systems of nature and the human-made systems we are constantly developing.
This set of work explores the systems of existence through systems of drawing/painting, while acknowledging how seemingly preposterous or impossible this is to attempt. This is, I think in keeping with the
concepts of existentialist thought and literature.
In these works I was able to build the image in a method that approached stream of consciousness, starting by rendering one part or piece and then connecting and developing the other parts, creating a dynamic
form without a preconceived plan and then adjusting and shaping. The process involved constant response, problem-solving and invention, and led to instinctive decisions on what colors, textures, surfaces, and
visual information was necessary to make the 'system' work. Likewise, realistically rendered objects from photos such as trees and clouds, building parts, geometric forms, organic abstractions,
graphic/graffitti/comic mark making all were brought into play as elements when needed.
The set of work was a development of my Mechanism paintings of 1995, in which I composed images of mystical purpose or no purpose from renderings of leaves, plants, flowers, and tree parts-and the plastic
paintings from 1997 that explored movement through exploded curved graphic forms. The challenging sprawl of the Existential Systems led me to want to set limits on the size of the work and amount of
information in a work and to disambiguate these complex concepts into individual expressions. These became the Cosmic Strips Series. The description here of the universe became story/images of my universe.
my artificial nature/existential systems