Organized chaos would be an appropriate description for the appearance of my paintings. However, let's further explore alternative motives to the creation of the work.
Time and time again I am asked for an explanation and the motivation that is responsible for execution of my work. I generally respond with, "They are psychological landscapes."
So, what does that mean?
Allow me to deconstruct my thought process.
Since being introduced to the world, we are presented and exposed to a plethora of information. This information is then internalized, processed and stored. From this stored information we refer to our past experiences and associate them to the experiences we are currently encountering. Our perspectives are then manipulated by opinions, prejudices and beliefs that our subconscious has altered by referencing our past associations.
My paintings are intuitive fabrications.
Hence, my intentions for how the viewer perceives my work is irrelevant. The viewer is free from the constraints of my intentions and is instead freely allowed to let their past associations influence their perception of my paintings.
In addition to further influence the viewers' perspective, I use names intended for people to title my work. As a result, the viewer is further pushed to refer back to their prior experiences to provide a response.
An example of this would be if the painting were titled, "Mike," and the viewer had a wonderful experience with someone named Mike, they would then have the probability of extracting the positive qualities of the work. Therefore, having a positive response to the work. Whereas if their encounter with someone named Mike were negative, would then theoretically result in a contemptuous response.
In short, the work is in the absolute control of how much the viewer permits their past to influence the perspective of the present.
Melbourne and New York
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