The streamlined viewing of massive quantities of digital images has become commonplace. The internet has created an efficient way to consume disparate images within platforms such as Tumblr or Instagram. I am interested in the way that my paintings can fit into that dynamic. The idea of optimizing a painting for it’s inevitable appearance on someone else’s screen makes sense to me. Although, it is equally important to me that my paintings retain their identity as physical objects in the world. In many ways the works in hyperfocus are an attempt to reconcile and come to terms with this dual nature.
The paintings in hyperfocus reference the mechanics of the internet through the use of systems, as well as, through the aesthetics of directional scrolling, frames, and grids. I applied the paint systematically to each surface. This process resulted in the creation of superficial structures and layers. These paintings define their own logic in terms of composition, style, color, and form. Symbols are adopted – combined and reformed into new visual languages. This procedural framework is not static. It fluctuates; inhaling and exhaling as it repeatedly constructs and deconstructs itself.
There is an underlying uncertainty about this way of working. The resulting state of flux creates a physiological experience, a sort of temporary disorienting trance, and a fleeting moment where the mind is at the mercy of the eye’s perception. Such structures build experiences rather than specific representations.