(continued)

…and go too far; the rules can morph along with the painting. Influences: the evolvable score to Stockhausen’s Stimmung, Fluxus’ instructions, LeWitt’s pencils, Adorno’s notion of bad infinities and C. D. Friedrich’s symbolic landscapes among others…

I put secondary scenarios into action to accommodate, deny and/or assign “literary” meaning to the cubes. They mimic thrown die or edges of tacked canvases or (to me) broken ice floes. Planks, tree trunks, wanderer’s legs, color flags and/or smoke may appear along margins, objectifying, corrupting or overwhelming the cubeforms. These non-cube devices populate via their own separate patterns and sequences. Though you can’t see it through the jumble, a sort-of moire effect is occurring.

The primed canvas is sometimes exposed between the cubeforms, bearing scars from the drawing and erasure that went into the initial pencil sketching. Primer plays a similar role as the raw cardboard and plain cast urethane in my sculpture, the body of the thing, seen. I might whitewash the gaps or fill them as a symbolic re-presentation of the ground. Lately the background is being asserted as a cheap imitation of a Romantic sky (see other paintings).

Elements from this series of paintings end up in my other recent work, and vice versa.