Death And Rebirth

An oval is a simple shape like this (), ( ), or even <> . When ovals are linked with circles •<>•<>•<>•<>•  they could be intestines; a chain, or simplified <>•<> glasses; a bathing suit top, or multiplied <><><> U.F.O.s; a pattern. If the oval becomes vertical () a vase, or with circles (•)(•) breasts or eyes.

These shapes by themselves and in combination with other shapes are lines built to suggest objects. I use other shapes too. A droplet can be a brush tip, a head, or a tear. A rectangle [] can be a pool, a portal, or a pedestal. An arc (( can be a flame, an eyebrow, or a blade of grass. In combination objects like a chalice, the top of a flower, or a column are formed. The links have been a framing device in one painting and in another the links form a figure, referencing a human body. 

The shapes become a technique for mark making to build objects; my visual language. I recycle the shapes and objects. But their reuse does not guarantee the same meaning. Each shape, combination, and object I create are symbols. A symbol never has a single context. It allows variable meanings. Through repetition, these shapes work to destabilize meaning, to extend the temporal nature into the perception of the object, disallowing for a universal truth. Disallowing a single perspective or a dogmatic reference allows every image to carry multiple subjectivities. 

Symbolism is about plasticity. The symbol is different from an object. The object exists on a single plane, with a single meaning. Though an object can be used symbolically; then its meaning can be extended and built upon in layers giving several levels of understanding and perspective. A symbol is no longer singular, it is queer. The symbol is transitory; its multiple subjectivities change over time, in sync with societal and cultural changes. It can reflect the past, but always reflects the present. A symbol should be able to shed layers, revisit some, leave the rest. My visual language asks symbols to stretch into new meaning, to be unsatisfied with one view. This visual language adapts to new spaces. When my paintings are next to each other, I am asking a viewer to acknowledge the different meanings between the same shapes; to participate in naming the change. Every time a shape is acknowledged as different from painting to painting, it demonstrates a person’s aptitude for transformation; for accepting change. It is that simple to change the mind to see differently.