Parallax Paintings
       
     
Parallax Painting: A Square Is A Diamond to Infinity, 2009
       
     
Parallax Painting: Receptor | Reflector | Channel, 2009
       
     
Parallax Painting: Convergence Skew, 2009
       
     
Parallax Painting: Horizon of Experience, 2009
       
     
A Receptive Visualization, 2008
       
     
A Receptive Visualization for Extrasensory Perception, 2008
       
     
Parallax Paintings
       
     
Parallax Paintings

The series of shaped canvas paintings, Receptive Visualizations and Parallax Paintings, invokes references to crystalline structures, mystical icons, and diagrammatic images. Decisively shaped canvases utilize two-dimensional perspective, vanishing points, and parallax to generate an experience of perceptual flux. The extended shapes and large-scale call attention to the space of architecture, and allow the viewer to investigate a revealing of the object in space. As one moves around the painting, perspective shifts become intentionally exaggerated; the outer form appears dramatically different when viewed from the right, left or center. The painted surfaces also appear to change depending on the angle. Silver metallic areas reflect light, wall, or the viewer in the act of viewing. Contrasting use of radiant paint furthers this shift. Each thick canvas edge is painted with a high-intensity fluorescent paint. Initially this appears to be the glow of a light-source, but it is in fact an unexpectedly warm and reflective shadow produced through paint. This fluorescence charges the canvases with illumination; they appear to hover and radiate light. These formal elements open philosophical inquiries of phenomenology and the sublime, but moreover, ask the viewer to experience. Through the construction of these objects, I hope to bring the viewer into a focused awareness of the sensations of perception.

A reference present in my series is Frank Stella’s early polygon paintings, which marked a moment where painting as object and painting as illusionistic image representation were able to coexist. Michael Fried noted Stella’s early work as a potential bridge between the image of representation and the object of minimalism in his essay, “Shape as Form: Stella’s Irregular Polygons.” Moreover, historically this moment became the epicenter of a dualistic feud between transcendence and literalism in art. My interest in this moment lies in the possibilities of simultaneity and ambiguity—for art to reveal the plurality of perspectives located in the flux of perception and culture. I therein understand my shaped canvas paintings to function in terms of parallax and paradox-- to acknowledge the relative position of a point of view where seemingly simultaneous contradictions may coexist and inform one another. The work hovers in a space of decisive ambiguity, simultaneously invoking skepticism and belief, clarity and illusion, and ultimately, a reckoning with the directness of phenomenological experience and the possibility of transcendence.

Parallax Painting: A Square Is A Diamond to Infinity, 2009
       
     
Parallax Painting: A Square Is A Diamond to Infinity, 2009

silver enamel, day glo on shaped canvas
50" x 168"

Parallax Painting: Receptor | Reflector | Channel, 2009
       
     
Parallax Painting: Receptor | Reflector | Channel, 2009

silver enamel, day glo on shaped canvas
120" x 80"

Parallax Painting: Convergence Skew, 2009
       
     
Parallax Painting: Convergence Skew, 2009

silver enamel, day glo on shaped canvas
50" x 168"

Parallax Painting: Horizon of Experience, 2009
       
     
Parallax Painting: Horizon of Experience, 2009

silver enamel, day glo on shaped canvas
22 " x 168"

A Receptive Visualization, 2008
       
     
A Receptive Visualization, 2008

silver enamel and day glo on shaped canvas
21" x144"

A Receptive Visualization for Extrasensory Perception, 2008
       
     
A Receptive Visualization for Extrasensory Perception, 2008

silver enamel and day glo on double-wraped, hinged, shaped canvas
21" x 144"

*triangular sides are hinged, and wing out from the wall