installation view of ‘ordinary disorder’, MFA Thesis Exhibition at 205 Hudson Street Galleries, 2016, various painting media, wall 64’ x 11’      My thesis installation is keyed to my polyphonic painting practice, and unites 37 works that possess variations in scale, medium, content, and degree of abstraction. Oil paintings and watercolors are placed in relation to each other as if footnotes, to visualize linked directions explored through multiple works, and to suggest a multitude of parallel experiences within a network.      This cosmos is studded by paintings from my ongoing series Failed Metaphor: including Nine Plumes, Rough Draft and Ropes of Sand. In these a yellow oxide ground, similar to that used by Rubens or da Vinci, is coated with black water-soluble tempera. Using both brushes and my fingers to manipulate paint towards elegant resemblances, I then partially wash this fluid away to restore a sense of fleeting instability and simplification, like replacing a strong sound with its echo. In this act I refer to ideas of data decay, and of my own eroding memory.     My other panel and paper works begin like those of Failed Metaphor, with the finding of form through fluid tempera or watercolor. However I then work to ends of more layered meaning. For example, the surface of Follower Fox is lacy and evanescent, and this veil enshrines the memory of a fellow Boy Scout dressed in feathers that I knew as a boy, and who is now dead. This painting’s comparative spatial complexity invites the viewer to another world. In this way, all my works are keyed pictorially and materially to the amount of metaphorical information they contain. 

installation view of ‘ordinary disorder’, MFA Thesis Exhibition at 205 Hudson Street Galleries, 2016, various painting media, wall 64’ x 11’ 

    My thesis installation is keyed to my polyphonic painting practice, and unites 37 works that possess variations in scale, medium, content, and degree of abstraction. Oil paintings and watercolors are placed in relation to each other as if footnotes, to visualize linked directions explored through multiple works, and to suggest a multitude of parallel experiences within a network. 
    This cosmos is studded by paintings from my ongoing series Failed Metaphor: including Nine Plumes, Rough Draft and Ropes of Sand. In these a yellow oxide ground, similar to that used by Rubens or da Vinci, is coated with black water-soluble tempera. Using both brushes and my fingers to manipulate paint towards elegant resemblances, I then partially wash this fluid away to restore a sense of fleeting instability and simplification, like replacing a strong sound with its echo. In this act I refer to ideas of data decay, and of my own eroding memory. 
   My other panel and paper works begin like those of Failed Metaphor, with the finding of form through fluid tempera or watercolor. However I then work to ends of more layered meaning. For example, the surface of Follower Fox is lacy and evanescent, and this veil enshrines the memory of a fellow Boy Scout dressed in feathers that I knew as a boy, and who is now dead. This painting’s comparative spatial complexity invites the viewer to another world. In this way, all my works are keyed pictorially and materially to the amount of metaphorical information they contain.