I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.
There are a lot of artists in Gowanus, and certain things come into your visual vocabulary from living there - the scale of the subway and the canal, sometimes it almost looks like a de Chirico painting, with the intense angles of the shadows and everything.
That's when I feel really excited about a painting. When it starts to feel real, when it feels like it has a personality.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
The distinction between reality and fiction in America seems like it is becoming really blurry. With its religious fanaticism, reality TV programs and fake news broadcasts being aired by the government, the States feel like they are entering the Dark Ages.
I like the feeling of not knowing where to look when you are only performing for one person or watching someone practice. It creates this kind of a strange in-between, which can be mirrored in the feeling of making a painting.
I'm mostly drawn to narratives that are difficult for me to visualize.
I just saw a clip of Maria Bamford. She has a comedy show that was filmed and performed from her bed - the whole thing supposedly takes place in her bedroom at her parents house in Duluth, MN. I thought it was great and really strange - to have a comedy special without having to leave your bed.
I think that's just part of how it is with making art. Sometimes you're just flooded with ideas, and then other times you're questioning all the ideas you ever had before, and everything is just... lame.
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