Vermillion Exhibition Statement
I pour paintings on large, flat, black canvases. I call this technique "illuvium" for the geological term of particals settling on flood planes.
These paintings are one-shot gestures, forming rapidly, drying in about 15 minutes as the water drains off a table or down one of the holes in the canvas. I dilute the acrylic paints to a consistency of milk. The paint contains tiny mica flakes, which sparkle as they tumble in currents.
For each painting I design a specific jig or "table" to deform the Masonite canvasses. I refer to the Masonite as canvas because it becomes pliable like fabric when draped over a form. The structure acts to guide the flows across the horizontal surfaces. I can make hills by raising areas, and valleys by weighting holes to pull the flows of particles.
It is in the building of these structures where the thought and labor occur. It is curious to me how life seems to have a fundamental structure and also a fluid nature. It is a dichotomy, a balance of work and letting go to the unknown. After all that can be figured, planned and understood, there is chaos and magic which cannot be feared, respected and praised enough.
As I sit with a cup of paint in my hand, on the edge of a blank board that took days to set up, I try not to lurch forward like a horse into the stream. I promise to take more time to see how the water is flowing before I move. Once I begin, there is no stopping. Pouring over the same place twice creates craters and destroys the quietly settling particles. Investing too much energy into the system creates aberrations like cancers. I find that curiosity, confidence and play leads to beauty.
These paintings are about participation. My interests is in meeting with nature, doing the work to give it what it needs and then advancing, pushing and responding, asking the same from it. These physics are everywhere in the universe. Their effects move us and the life created. in recognizing them together, naming them and relating, we also further creation.