Transition My current work continues an investigation into the formal relationship between painting and photography, focusing on the architecture and landscape of freeways and the buffer of land between the city and the countryside. The transition, dislocation and isolation that I experience driving through this sprawling landscape are used in the work as a metaphor for broader feelings of anxiety and uncertainty.
These highways follow routes from one point to another, with converging and diverging overpasses and roads; they are spaces of passage. The architecture and landscape of these urban outskirts, with their airports and hotels, acts as a transitional zone passed through enroute to unknown destinations. These paintings often employ a single point perspective: the vantage point of the passenger during the journey. The viewer is the sole passenger in these empty vistas. Often one or two planes in the distance intersect the view. Some of the paintings depict the architecture of the side views off these transitional routes; frozen glimpses of anonymous industrial parks, interstitial fields, hydro towers and subdivisions. It is this unattainable frozen viewpoint, from which I experience these passing vistas via the photographic process that creates the sense of displacement.
I am interested in exploring painting as a reductive process, wiping away parts of the original photographic image. The images begin as photographs transferred to mylar. I can then isolate and combine architectural and pictorial elements from different photographs on to one image. Familiar elements are then wiped away, replaced with a painted void. The final painting on mylar combines both photographic and painted image. One intrinsic quality of the photograph is that it stands as a record of a time and place. I am excited by the potential of how far this property can be erased before meaning collapses. Thus, my current body of work is larger in scale, moving away from the single point perspective into a less clearly defined pictorial space.