Early in the year of 9/11, I began work on three large paintings, using geometrical patterns to experiment with what happens when seemingly opposing systems or viewpoints overlap. Seeking a perspective capable of simultaneously accommodating multiple viewpoints, I was also becoming fascinated by the sense of the infinite created by Islamic tile patterns.
I began to think of this as a kaleidoscopic perspective. One of the fascinating things about a kaleidoscope is that what you’re looking at right now was something else just a moment ago and in the next moment will change yet again. Can a painting capture that sense of movement?
STAND OFF, READY ALL, BLOODLINES | 2001