I began making paintings via a system of automatic drawing using interconnected isometric cubes for two reasons, the first being the ability to work intuitively and arrive at a structure, and the second being the naturally discordant nature of the structure which becomes rich with optic possibilities. The frenetic “all over” energy seems authentic for me and my space/place in time- approaching an intensity that can’t be ignored.
As a process, this framework allows my studio to become a place where some outcomes can’t all be known in advance, which I find to be a challenging and mind opening mode of creation. The intent of my practice is to foreground experience, for and by myself, and for the audience as well- an exchange of energy between parties. The conceptual basis for the cube is its representation of early, Modernist ideas of nonrepresentational painting, pointing to one of several ideas- here, “concerned with its own formal qualities.”
It can certainly have other meanings- for me that includes experiences ranging from early childhood memories of building blocks to the eye-popping appeal for my generation of wire-frame strategies for conveying solids on a glowing computer screen.