The experience of cold informs any reading of the room, but it is precisely that physical circumstance which is missing from both the documentation of the work and the viewer's memory of being there. Reading is a physical act. As well as creating the Real within the space of text, the circumstances around a reading powerfully effect its meaning and color memory. Thus the coldness of the room tints its memory around its edges. I think that's a most interesting way to view my work.
Painting is a body of knowledge.
It has such a long and complex history, with many conflicting meanings and practices, that it cannot be seen as an asocietal progression nor as a simple reflection of the artist or society which fashions it. To conceive of painting as a body of knowledge lets it exist in the fullness of its diverse histories and does not diminish its humanity. My works often involve materials and modes of making which are not traditionally of painting. But I am not interested in making art about art. What interests me is seeing through painting to how we look and how we see.