My paintings are not allusions to things external to them. On the contrary, they keep literally within what presents itself. But the more austere they are in artifice, they become more comprehensive to me. That’s the issue. Paddling and brushing the paint drags and leaves their inscription while adding more paint. The modulation does not exist because the sense of calibration given by the paddle and the brush, the width and pressure, are done to pull out the undercoat in the coat being applied over it. That’s why you see both dimensions at the same time. The difficulty of doing means no falsifying ease, and imperfections have to be perfect. It should create a visual collision. Normally you approach to see small things. And when you do, you are hit by a train.
