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| My current paintings combine the traditional technique of glazing in oils with a digital approach to color. Each additive-primary color channel (red, green, and blue) in the digital source image is rendered as its corresponding subtractive primary (cyan, magenta, and yellow) by deleting the other two RGB channels, separating the image into cyan, magenta, and yellow components. Each CMY channel is then reproduced in successive single-color paint layers in a traditional glazing technique: The cyan channel is the basis for the opaque underpainting, then the magenta and yellow channels are rendered in transparent glaze layers. This method reflects my overall systematic approach to painting. I use systems as a way to simplify the bewildering and for me anxiety-producing array of decisions that constitute the act of painting a picture. Systems are speculative maps of the multidimensional phase-space of all possible paintings, they give me landmarks and guidelines for use in exploring that space. My current system of process-color glazing came about as a solution to the problem of how to reproduce a photograph in a painting. Approaching color indirectly by using the glazing technique allowed me to isolate color from form, breaking one problem into two simpler ones. Process color was the logical way to systematize reproducing the colors of a photo, since those colors were generated through process color to begin with. Process color has a direct relationship to the structure of light and of the human eye, and this direct connection to the natural order appeals to me. |
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