Here's a few shots of recent work.
There's a sense of self-doubt that germinates in the blood memory of most every painter educated in the post-secondary system. I've bludgeoned this concern over indoctrination several times previous, but it manifests itself quite nicely in my self-doubt around "Force Pro", a painting done simply because I think the photo will translate nicely though pigment. That's why I'm painting it though, to see if I feel okay about executing and exhibiting a painting that is mostly devoid of "contemporary" concerns.
"Cautionary Tale" is a painting that seems to be unnecessary, in that the things that drew me to these images was the story that links the two moments in this diptych. Okay, unnecessary is the wrong concern. The diptych works, but it stands separate from the source, and lacks the mortal resonance of the Tale itself. Perhaps in the end (of course, there is no such thing), the painting will work more successfully than the text because it's devoid of a story... and that's sort of sad.
The two headshots, (Logie and Greenhall) also come from my new-found pontificating over narrative. Stripped of most context, my hope is that, accompanied by a written component, they will bounce off the constructed words, paragraph, plot and metaphor in an undefined but resonant way.
In short, the trouble here is not whether I can paint, but when I should paint. Fucking art school and its suspicion of craft and storytelling.
Force Pro (cropped, partially complete)
Cautionary Tale [diptych], 30"x40" ea.