I’ve been creating these One-continuous-line/Drip Paintings for about 5 years now (I’ve been painting generally for more than 25 years). I apply the paint from a Sriracha bottle, squeezing the line(s) of paint, from above, onto the newsprint sheet laid below. Many of the works are a result of conceptualizing and sketching, over minutes, days, or even weeks; while some are spontaneous expressions of my unconscious mind, mood, or disposition, at the moment of execution.
Marshall McLuhan said “the medium is the message”. I’ve chosen to create on newsprint, for among other reasons, to present a message in the medium; to provoke (as art should do). At the least, in terms of provoking, one will not likely consider these works without thinking about time, change, aging, decay, preservation, care, etc..
The newsprint (eco-friendly, cost-efficient, natural/organic, beautiful), and it visibly aging (a natural, beautiful process), is part of the artwork, not just the support. The newsprint is fundamental to my “creative process”; that it will visibly age (and deteriorate if not cared for — just like Nature) in a measurable period of time is part of the message of the work (unlike canvas, for example, that is part of the creative process but rarely has any message in-and-of-itself). This work ages; beautifully, in my opinion.
CORNERED (Acrylic on Canvas – MISC page)
Nevertheless, I have applied calcium & magnesium to some completed pieces to de-acidify the newsprint. I have three works on my walls (dry-mounted on acid-free board) that are nearly five years old and have not yellowed at all after the point at which I applied the calcium & magnesium to them years ago (some others, untreated, have yellowed slightly, while some have not). In any case, it is my belief (and intention) that these newsprint pieces will most likely change color to one degree or another over time; that is part of the concept of the work.
The paint itself, on the other hand, will last forever; it’s as heavy-duty as paint comes (which is also part of the concept of the pieces). While the newsprint represents Nature — organic, fragile, ever changing, beautiful — the heavy-duty, oil-based enamel represents Civilization (concocted, expressive, creative, flawed, built with and upon Nature).
The style/method of these works — one-continuous-line (usually, unless obviously to the contrary in some pieces) — is my desire to create in a way that is as fundamentally human and instinctive as possible — at-once, by-hand, without re-doing/thinking, and without aid of tools/equipment/devices (except the Sriracha bottle) — as a response to the manufactured, mass-produced, digitized and techno-distilled/refined/enhanced Modern World Aesthetic; the method & style of these works is as plain, raw, human a way of rendering images as I can think of (short of using body fluids, instead of paint). In this work I aim to be, in a word, Authentic.
(image digitally altered — white background added — to show detail)
Also, my means & methods in these works are a reflection of the fast-pace of American and Modern-world Culture, and my own conditioning thereof; there’s no time for thinking and dithering and contemplating — one must get things done, and be efficient these days — so the execution of a piece with time/cost efficiency this way reflects that notion (for better or worse).
ELLE M’A QUITTE POUR PARIS
Furthermore, I want to create work that expresses Humanity and that is thereby a sort of visual/emotional respite from the Sensory Chaos burdens of our current world; when I look at these works I feel peaceful and in-touch with (my) humanity because I know they are pure, unique and honest human expressions formed in-concert with, and partly shaped by, the forces of nature (i.e., gravity, viscosity, temperature, momentum, and other dynamics all affect how the paint “falls”, how it flows before drying, and several other subtle factors). Therefore, the final image is a collaboration between myself and Nature.
These pieces are certainly influenced by my awareness of Culture & Politics, perhaps on an unconscious level as much or more than on a conscious one. I pay a lot of attention to a lot of things that shape the world, and I do a lot of thinking; however, the pieces are executed very fast, without time for analytical thought to shape their development once the paint starts flowing. They do, I believe, reflect my conscious (planning & forethought) and unconscious (method of execution) awareness of and response to the world.