Painting is material.
Tradition is everything.
Three sentences that sum up how I would like to present my work. Give me thirty seconds. It all begins and ends with my belief in the radical potential of representational figurative painting in the 21st century, and how this potential rests upon three assumptions.
First, representational – or real – painting has no need for a middle man. There is no need to explain, no need to contextualize, no need to curate to induce value, no need for knowledge of theories or process – or even of how the painting was produced. The painting and the viewer need no one else. The viewer gets something out of the painting or not, without external and alleged aid.
Painting has a potential to offer a relationship. Most of us experience more images in a day than people from not too long ago experienced in a lifetime. We consume images. It is fair to ask: why produce more images? The paintings I keep close (and aspire to make) are physical objects. Most of them take a long time to make, or require skills that take a long time to acquire. In that they inherently have a potential to be a physical experience that evolves over time.
The skills that are required to produce paintings of this kind have developed over generations. We can with good reason talk about a tradition. To exist in a tradition one needs to study the past in order to acquire a deep understanding of methods and approaches – and then finally own that tradition by adding oneself as a continuation of the same.
These are the only thoughts I would like to add.