Close Looking, an ongoing series about individual paintings, process, and the ideas that move through my work.
Close Looking
Close Looking No. 7: Pure
In Pure, three forms remain separate while delicate graphite marks create just enough connection between them. Continue reading →
Close Looking No. 7: Pure
In Pure, three forms remain separate while delicate graphite marks create just enough connection between them. Continue reading →
Close Looking No. 6: Maxxing
In Maxxing, pleasure and unease occupy the same space, reflecting a culture where spectacle, humor, fear, and entertainment increasingly overlap. Continue reading →
Close Looking No. 6: Maxxing
In Maxxing, pleasure and unease occupy the same space, reflecting a culture where spectacle, humor, fear, and entertainment increasingly overlap. Continue reading →
Close Looking No. 5: Extra
In Extra, competing forms, drips, and fragments of text create a field where no single element takes control. Continue reading →
Close Looking No. 5: Extra
In Extra, competing forms, drips, and fragments of text create a field where no single element takes control. Continue reading →
Close Looking No. 4: Butter
In Butter, a gesture absent from my work for nearly twenty-five years unexpectedly returns. Continue reading →
Close Looking No. 4: Butter
In Butter, a gesture absent from my work for nearly twenty-five years unexpectedly returns. Continue reading →
Close Looking No. 3: Pirate
In Pirate, competing forms and gestures occupy the same space without falling into agreement. Continue reading →
Close Looking No. 3: Pirate
In Pirate, competing forms and gestures occupy the same space without falling into agreement. Continue reading →
Close Looking No. 2: Super
In Super, a dominant red presence resists being named as marks, color, and language continually redirect what we think we see. Continue reading →
Close Looking No. 2: Super
In Super, a dominant red presence resists being named as marks, color, and language continually redirect what we think we see. Continue reading →