The impossibility of living objectively causes a completely insular existence for us. It is quite difficult to truly understand what is really going on in someone else’s head because of a relativity that exists regarding anyone’s interpretation. Through a consistent process of experimentation, I have come upon this idea frequently. Art worth sharing is a rare experience; however, when the pieces achieve a level of validity allowing the viewer a direct view into the creative spirit of the artist, a point of communication exists beyond visual language. Though abstract, the forms represent a creative moment, a synapse. Inspired by the intricacies of nature and the movement of entities through space, these experiments are a way of making sense of my experience existing within the physical and social constraints of life. The nature of science is so exact, yet nebulous, and for us to observe the dynamic quality of liquids illustrates both quite well.

Similar to the concept of oulipo, the pigment’s fluidity and viscosity present arbitrary behavior by creating physical constraints when in contact with the surface of the paper and other materials like felt pens.


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So I had a really productive day in the studio laying some paint down. Graduation in May, first requires a final exhibition of my work in the Cress Gallery on campus. Despite all the design work that I do, I feel that it is extremely important to disconnect from the digital. Think of it as analog creativity. My best friend Bill and I have been experimenting with a technique of laying down acrylic in such a way that it’s viscosity creates very interesting forms by pushing and pulling pigment across the surface of all different kinds of materials. The current favorite medium in the studio would be MDF board. It is cheap and porous, which is great for handling thinned out pigment. As the medium absorbs the acrylic, translucent layers form and create a very celestial depth.

This piece is a collaboration that I am working on with Bill. It has actually been in progress for four or five months almost. We hauled it back into the studio just today actually to try and get it finished up. This image and the following illustrate the technique of flowing pigment onto the surface.


Look at this tree growing up through the masonry in this abandoned hotel. This is the rear of the St. George hotel on Market Street in downtown Chattanooga. This decrepit structure looks as if it could collapse at any moment, especially if the tree knocks down that lad bearing pilaster. Still though, it is an interesting juxtaposition of nature existing alongside refined man made materials.

Final words: Trees are resilient.

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