The Painting Progresses from the 9-17-09 Entry

Marking Time in a Kung Fu Lunchbox

This is my Kung Fu Lunchbox. Its an art piece that will be finished, posthumous. I began putting the scrapings from my paint palette in the lunchbox in 1987, the year before I moved to Virginia. It reminds me that I need to waste paint in order to paint. It also reminds me of my mortality.

Matter Matters

I hold a deep respect for the matter I manipulate and the ensuing enmeshment of material and ideas that occurs in my creative process. This enmeshment in figurative painting often occurs when the material and the motif become one. When representation is evoked through the plasticity of the paint medium itself and the canvas becomes more than a mere illusionist picture. This is the heavy weight of Morandi’s paint turning into wet clay when he paints his still life objects as if he were painting gravity itself. Or the oily sea of Turner’s pictures when they submerge, churn and float in unison with his palette. Or Van Gogh’s “Potato Eaters” that he expressed to his brother, Theo, is an attempt to make the paint as the dirt that the “eaters” ate on their potatoes.
DeKooning once said that oil painting was invented to depict flesh. So, I ask, why was acrylic paint invented? I had always snubbed the medium as inferior to the great tradition of oil painting. That was, until I started to paint plastic toys and then my sixteenth century painting material failed miserably to depict a mid-twentieth century substance. For all its modeling and illusionism, somewhere in my pictures of plastic toys it had to flatten out like melted plastic stuck to canvas. Only with acrylic paint, (plastic virtually painting plastic), could I produce that magically place where the material and the motif fused into one.
Beyond the material, the motifs in my paintings struggle. The events of 9/11 profoundly shook my illusions of a safe and secure world. So the armies of cartoon characters and secondhand store superheroes that make up my piles of plastic toys have become a personal metaphor for the varying factions of external forces rallying to destroy or save us. In addition, abstractionism and realism struggle to co-exist on the picture plane and the antithetical applications of loose expressionism and focused control scuffle to find resolution. The paintings fall into a polar opposition from being critical of our consumer society to being complicit with it. Painting the toys from observation, I fight to find visual clarity when falling into vertigo over the extreme colors and mass consumer objects. Still, it’s the depiction of plastic that I feel makes my work truly contemporary and where it can best make a contribution to the development of painting. What is this matter that we have surrounded ourselves with increasing amounts since the 1960’s and how do I make humans aware of its omnipresence in their lives?