I struggle to make sense of the world around me by creating simple images, using a "hands on" approach. Everything I do, without exception, is about the use and subsequent modification of impulses, usually through the medium painting and drawing. My objective is to communicate what it's like to be compulsive, rushed, wired, split-focused, paranoid, fragile, weary and empty in contemporary society. I tend to work around the edges of the traditions of the human figure, the anonymous portrait, landscape, abstraction, exploring the boundaries between these genres. Each exploration is unfinished and is usually returned to in a slightly different form, often after a long absence.
METHOD I use brusque movements to construct images. followed by periods of rest and appraisal, then partial or total destruction. Destroying and re-building is key.
TOOLS I deliberately use tools which are difficult to control, tools such as oversize charcoal sticks, crude Chinese glue brushes, black or white acrylic paint, fluorescent light, crude scale models, my own digital photographs, editing programs, deep zooms, lo-res digital video, all very crudely.
THE IMPOSSIBLE I am attached to the impossible notion of a work of art being a one-on-one map of the exact seconds lived. I aim to get as close to that idea as possible.
PAGE 1: LANDSCAPE
Man Erased (2008) On a residency in winter on the outskirts of Beijing (2008), I concentrated on recreating, on the walls of the gallery space, a version of the desolate landscape of mutilated trees which was all around the studio, where great swathes of trees were pruned to the same height before they began to reshoot.This land, in the boom years, was being redesignated for use as "art villages". (image 4 right above) .In other parts of the city, the green "landscape design" tarpaulins covered the reality of the demolition sites in the pre-olympic razing of the city. This "hiding of reality" informed the use of the horizontal planes in the wall drawing and the later paintings (image 5).The photographs (image 4, left) taken from the moving vehicle, where the trees in the background are stiller than the ones in the foreground, also informed the method.
Junk Shop of Romantic Landscapes (2008) On returning to Europe, I continued the project with acrylic paint on reused white canvases with rough unpredictable surfaces. These canvases I piled up the walls of the gallery…
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