This exhibition consists of new, largely informal work created out of the detritus and artifacts of my studio process. Sketches, studies, and process by-products have been taken up and modified for presentation as contextual material for the formal paintings on canvas from which they emerged. I cut apart plywood and plastic that were previously used as studio floor coverings, encrusted with paint and other evidence of my creative process, and used these as elements to create what are essentially found-object collages. I then worked back into these compositions by adding paint, altering the objects, or affixing additional elements including found steel.

This project was undertaken as an in-depth self-exploration of my studio practice reached by specifically focusing on the physical emergence of the formal paintings. My goal was to dissect my way of working and shed some light on the process by which I make paintings as well as what about that process is important to me as an artist. The insights gained by contrasting this body of work with my formal output are meant to inform and enrich a viewer's understanding of my methodology, and to open a dialogue with the viewer about the nature of artistic creation and how we create, view and appreciate art in general.

inclusion
process document (proposal)
cinders+ash
molloy landscape(material reversal)
molloy landscape(early morning fog)
molloy landscape(windstorm)
molloy landscape(daybreak)
bayanzag
justification studies, 1-20