The work in
Entangled and at Elan Fine Art, Fall 2017, was primarily made over the last two years.
Previous concerns, as with my Breathing Machines series, 2012-2015, include
capturing light from a substrate and referencing bodies and trees and spaces
around them. New concerns are disjunctions between surface treatments, rough
edges, superimposed panels and revealed sections of other paintings. Content is
in relationships between shapes and colours and treatments and layers. My newer
paintings resist reproducibility by wrapping around edges and by incorporating
gaps between layers and relief sections that produce shadows. What is the
figure and what is the ground, what is positive and what is negative, what is
revealed and why? These are some questions I'm exploring with this work.