AVANT-PROPOS
Hand-struck
ruins etched with history of gods dwell amongst the dunes. Pharaohs and kings watch over their dynasties from abraded, stone monoliths long fallen and submerged in sand. Their names chiseled over and over by succeeding dominions in order to erase established value. Visages broken and recarved. Painted over adornment, ruination of statutes and hieroglyphs become a palimpsest.
Under the excavation of thought regarding the archaeological aspect of storytelling through painting, the expression pertaining to uncontrollable patina of time needed capturing. Painting over history became a central node to what palmated to creating history, destroying it, regenerating anew, and tearing it all down again and again to birth a canvas for poetic allusions in gestural forms of light and colour.
History, time exists in physical forms all around us, tangible and speaking the poetry of life. There is a lyrical vernacular to cracks in plaster walls that are mesmerizing. Degradation in long-standing artifacts that not only voice their existence, experience in the broken visages but paint beatific, abstract expressions without decision.
Sidewalk
cracks, crumbling foundations weave tales like lifelines, split, cracked, filled with refuge, and sodden in rain, start to resemble masterpieces with a variability of time. These works of naturality provoke and inspire. A visual encapsulation of time passing in materiality and mark-making.
The Deus complex to create a passing of time in a palimpsest is juxtaposed by the use of computational mediums, an unnatural excavation of an inherent natural process. A manmade device became the hand of god. Patina, erosion, cracks, and stains of time are carefully extracted from photographs. These particles accrete in varied formations and colours, allowing for the canvases to travel back in time.
The works are injured by eons in days. Ruins built on structures coalesce with a chromatic adornment of paint and gesso. Poetic tales of empires long past appear as expressive gestures upon the formed surfaces. What takes shape is a layering reign of pharaonic pigments, visceral hues, ancestral revenant-like figures, obliterated kingdoms in smears.
