In the late eighties, feeling restricted by the confines of a stretched canvas, I started experimenting with ways in which to reverse the processes of making a painting. Using bags and containers, made of jute or canvas, I began to explore weight and volume in relationship to the fluid properties of paint, seeking to turn a painting inside out enabling the medium to essentially hold on to itself. Rearranging and rethinking the functionality of the painting materials, for example, applying canvas to paint instead of paint to canvas, broadened my interpretation of what a painting can be. Reversing the process while retaining tradition became a language of new directions and surfaces for paint to go.
Collapse and decay are present in the work, which are glued or sewn back together. Mending is an integral part of the process and begins the life of each work. I use monochromatic colors on a flat surface maintaining a formal aspect of painting, however, the sculptural quality of the work helps push the constructs of painting, its picture plane, composition, and illusion.