hunt for materials is a big part of a
Recently, however, I have taken an interest in street posters and roadside billboards and the large typographic shapes that they contain in a quest to move from the small, intimate scale I have been accustomed to, toward a comparatively larger scale of work that might allow me to work on canvas and panel supports without losing the attention to detail. I think of these works as a sort of nonobjective, visual or concrete poetry whose interest is of a purely visual nature not tied to literary meaning or commercial utility.
Kazimir Malevich said in his manifesto of Suprematism;
“‘Practical life’, like a homeless vagabond, forces its way into every artistic form and believes itself to be the genesis and reason for the existence of this form. But the vagabond does not tarry long in one place and once he is gone (when the utilitarian usefulness has passed) the full artistic value of the work remains.”The Non-Objective World based on a 1959 translation from German - Paul Theobald and Company
Similarly, I see these works of mine as liberating the forms of language from the practical utility of being carriers of some commercially driven corporate message, allowing them to exist purely for their own sake as shapes, curves, rhythms and colors.
My interest in this idea was first engendered in 1998 as I entered
I had never seen this idea before and immediately thought; ‘from now on, whenever there is a sign like that, it is a Touchon, as ink splatters might seem to resemble a Motherwell. And so, soon after I began to experiment with the idea and to pay attention to such signs for ideas for my own work. Some signs, my favorites, were just lettering that had been shifted around to create abstract shapes. These eventually became a central focus of my own compositions.A lot of my
The main problem was, until I returned to the United States, I didn’t seem to be able to come across the large billboard material in Mexico and so I satisfied myself with the ready and renewable materials around me which happened to be the street posters many of which were for wrestling matches. But in order to get the effects that I was looking for, I had to stick to a fairly small scale of
My current working process tends to be very meditative sitting in front of a canvas or large piece of paper for hours at a time carefully cutting and fitting together the many parts that end up being my current work. Some of them I then use as studies for larger paintings on canvas. In my paintings I use a lot of subtle trompe l'oeil effects in order to simulate the surfaces of my