I want the paintings to make themselves. I make the paint from pigment ? this is already almost a painting. I build and re-cut flat-front stretchers so that the stretcher is the foundational drawing for the painting. I stretch and prepare the canvas in an extension of this drawing, re-stretching the canvas if the stretcher is re-cut, or if the painting appears on the other side of the canvas.
It doesn?t matter exactly what the painting looks like ? it matters, but it matters to the painting, not to us. This is because the thinking in the paintings is tangible and tactile, as opposed to aesthetic. The particular local physical reality of a painting is an idea ? a complex, irreducible material idea.