The phenomenological experience of painting is not just perceived bodily, it draws on our memory of precedent through subject matter, pigment and physical mark-making which translates into a promiscuous visual encounter. Because it is a primarily visual experience, painting is the medium through which the phenomenological is most clearly articulated. Paintings flexible, social mobility allows for an entry of forms of communication divested of tradition. The gestured paintings function as localized windows of subjective structure and exposed breakdown. The hope is that this body of paintings will offer a proposition of reality, as opposed to a representation of it. By reinvesting in Modernist strategies of abstraction, such as driving shapes, decorative hues, and angles, I hope to place these concerns in the contemporary moment, with the goal of recuperating the utopian gestures of Modernism for our anti-utopian historical moment.

This body of work is concerned with the historical precedent in painting, focusing on medium specific concerns; specifically the issues of color, scale and line. Stripped of all extraneous detail, each work attempts to attain and render a monumental scene that performs as simple, codified information. The work will have a private language that belongs to art discourse, but generates an experience that can be called "plastic" in that it operates as a specific experience that is entirely generated by the field of the work itself, and outside of representation. The juxtaposition of dry gestural articulations of paint, and tight controlled brush strokes will create a curious experiential difference.