I
repaint photocopies, even photocopies of photocopies.I like the irony of painting trees using
them, referring to them.My images reflect
dual interests in photography and painting.At times, they are revelations of emotional states.More frequently, they are the result of
deliberations regarding the endeavor of painting itself—painting in the age of
mechanical reproduction.The photograph
is the basis for these images; it reflects a conceptual, as well as a physical
distance from the subject matter, as we tend to experience the outdoors
vicariously through the filter of media.Derived from photographs of trees, found in publication, and digitally
manipulated, I enlarge these images emphasizing the dot-matrix. This is the
basis for the final painting; the photographic image is repainted. The pixel
dictates the brush mark; the color and light are invented. In keeping
with these tensions, I investigate cool/warm, high key/low key contrasts.
The result is that the final image is partially photographic, partially
hand-rendered, and almost always pixilated--the photograph is translated into
paint.The hand of the artist is subject
to the mechanics of the photographic process.The photographic image is recreated and transformed by hand.
