Repetition is a punching bag
Routine is the enemy of time
ASH/RUST/DUST
When a painter paints the landscape, their canvas is a white square. When I wanted to move my attention
from the sky to the earth, I sought to simplify the organic shapes of nature into a single form; an ellipse. On its surface is a rendering of the light of the landscape.
A shadow stretched on the desert floor; mercury horizon; old desert; candy sky; shards of gold light; glistening fog; pale morning moon through the tent door; water ripples; quartz floor; rust.
Sand cast and dirt moulded, the works represent the environment in which they were made.
Golden light in the afternoon and heat waves on the horizon. Broken Hill, NSW
Light piercing through the morning fog blanketing the valley. Wombeyan Caves, NSW
Thin ripples of water reflecting light, moving back out to sea. Comerong Island, NSW
This process is didactic.
I need the desert, so I drive 13 hours.
I need to dig a hole, so I dig a hole.
From this I learn what to do next.
Through repetition, a daily practice acknowledges painting’s temporality.
Painting is a vessel of labor and marker of time. I emphasize this labor with many physical processes. As I work on each work to represent my surroundings, I also work on everything else outside of painting happening in my life.
Routine is the enemy of time
ASH/RUST/DUST
When a painter paints the landscape, their canvas is a white square. When I wanted to move my attention
from the sky to the earth, I sought to simplify the organic shapes of nature into a single form; an ellipse. On its surface is a rendering of the light of the landscape.
A shadow stretched on the desert floor; mercury horizon; old desert; candy sky; shards of gold light; glistening fog; pale morning moon through the tent door; water ripples; quartz floor; rust.
Sand cast and dirt moulded, the works represent the environment in which they were made.
Golden light in the afternoon and heat waves on the horizon. Broken Hill, NSW
Light piercing through the morning fog blanketing the valley. Wombeyan Caves, NSW
Thin ripples of water reflecting light, moving back out to sea. Comerong Island, NSW
This process is didactic.
I need the desert, so I drive 13 hours.
I need to dig a hole, so I dig a hole.
From this I learn what to do next.
Through repetition, a daily practice acknowledges painting’s temporality.
Painting is a vessel of labor and marker of time. I emphasize this labor with many physical processes. As I work on each work to represent my surroundings, I also work on everything else outside of painting happening in my life.
