Arte Sempre
at Downtown Nashville
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Getting as much of this in as possible before Nashville>Tokyo>London>Paris>Berlin>Italy etc
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What does 2050 look like… Stoked to be working on the art for the cover of an upcoming issue of architectural Digest.
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Friday night shred
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Friday nights without lights with @palicci and @wheresjames
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"Implied figure "
Much of my work is now a departure from the aesthetic Notions I used to stand by. I craved flat and cleanly rendered images, and couldn’t understand the appeal of “imperfection” . But as it became easier and easier to expect the outcome of my own work, to modulate what would be novel, the novelty itself wore off and I found myself wanting to feel the tension of stepping too far,
Or of not stepping far enough.
Painting became not only a dialectical process in and of itself, but it reemerged as a way to push forward with my search of self. It’s building perfection, and then watching the definition of perfection change just before you’ve touched it. The gesture of reaching begins to define both the piece and the individual making that gesture. And so I am now compelled by movement, by letting myself step out of the way of the painting, rather than playing an active and inhibitive  roll in its creation. The imperfection, the anomaly and the movement  is now the goal, and I’m sure that as soon as I am aware of that fully, I’ll have to move on again. There’s no way to hold movement, or to change the pace of change itself, and so I’ve given the credit of these works to the abandon that comes with letting go of expectation. The wandering that comes with perimeters but without directed purpose. I can no longer paint, but only imply that I’ve painted, because the act of painting has become passive for the creator, it’s just the points of resistance to nothingness that make the image what it is. The clinging to the side of representation, while staring at abstraction. A painting that feels more than it looks, and moves more than it stands still. A work that can’t be conceptualized because it only expressed that which is the reason of painting it initially. It’s a dive in head first for both viewer and artist, making them both meet in the middle that is not owned, rather shared in the presence of its viewing. I now search for a painting that is proprietary to the human condition, to the ineffable and to that which cannot contain expectation, rather than an art which is perfect .
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"Who you are and who you want to be"
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