I began to incorporate text into paintings my final semester at ISU. It started as a stream of consciousness. I wrote down words and phrases as they floated to the surface. I overlapped, painted over, reversed, and flipped text to replicate the extraction..
The text informed the non-objective images. Everything is connected. No word or phrase stands alone without relation.
text without legibility
As I examined the first paintings which used text I began to notice an aesthetic power to the text. I began to paint a quasi non objective text body. I kept the visual power of calligraphic line and stripped away any possibility of reading. The work itself, does not represent a happening in the physical world like a painting, it describes one like a page in a book.
text as compositional elements
After graduation I focused on building up and describing a personal Idahoan Zeitgeist. I explored religious connection, memento mori, icons and the influence of people in relation to the geologic time scale.
In this series of paintings I combined the use of text as a meditated compositional element as well as semi legible matrices.
The bars of text in The Architect and His Foundation Rites provide conceptual support through legible prose and aesthetic support through its structure.
I do not view these works as text based art. I saw text and language as another tool, another piece of technology which can be used in the realm of art making.
Further down the road I will look into using text to describe only its immediate self and nothing else beyond the picture plane.
He sees the bodies of the poor youth. A playground for wants and physical needs. Like the land new to the Old World; he takes. He does not wait for the balance. he acts upon, painting the newest piece of vulnerable skin with the weight of stroking his sickly ego.
He does not like the balance. The manipulations and contortions rarely work when he faces down equal social capital.
Inequality. . . his comfort zone
Its hard for me to relate back to the Salmon River Wilderness through photos. They rarely capture the emotion I associate with the River. I recall time there and the inescapable feeling of human mortality that followed my every step. Much like a road trip to places unfamiliar the experiences turned into distant memory almost instantly.
I think this is one of the most iconic elements to Central Idaho's Wild spaces. The land does not comfort or conform. The picturesque is dwarfed by the sublime. Shear granite cliffs, and steep hillsides dotted with Ponderosa Pine, Douglas Fir, and Mountain Mahogany end at the banks of the Salmon River, the River of No Return. This is the place which spooks my memory.
I speak of identity given and identity constructed and the wild spaces of Idaho, like the Salmon River, play key roles in this duality. I did not choose to be born to a family which took time to visit the Salmon every year, but I did choose to use those years and experiences to inform my artistic voice. I took elements from those formative times and added them to my structure.