When I start a painting I have to be moved by the intuition of the moment. Paintings are often iterations of concepts and aesthetics, and then every once and a while I take a leap towards something vast and unknown. In order to take that leap I have to create a vacuum where I stop thinking consciously and start marking intuitively. I’m quite volatile when it comes to painting: sometimes I’ll make nothing I’m satisfied with for months – until I catch onto the end of this thread that leads to my intuition.
It’s a paradoxical path: if I start with the concept, and it ends up as I expected, then I’m not satisfied. If I start off with an idea, and the idea fractures into it’s own problems and I happen to resolve those problems in order to create the next set of problems, that’s progress. Progress is as fleeting as satisfaction, but that’s why I paint. The Nature of the Absolute is that there is only transience, and therefore the only Absolute in my work is non-absolute. It’s an improvisation without conclusion, and so my paintings are moments scattered across different surfaces.