EJG: Your work evokes a great deal of movement, and some of your abstractions seem as if captured by a moving camera.
That makes sense because all of the current work is made up of abstract shapes I find in film stills. They’re the kind of forms that fly by quickly and are easy to miss, but I slow down certain sequences frame-by-frame and look for something interesting to work with.
The blurring effect that’s happening in a lot of the new paintings is a result of the fast-moving subjects, but I’m finding that the motion translates into painterly brush strokes in an interesting way. The trick for me is to make them seem like they just happened spontaneously, while in reality they’re planned out. It’s kind of a contradiction, but if you think about it, it’s not really even a process of abstraction because I’m depicting something that’s actually occurring on the screen.
EJG: Did you stare out of car windows a lot as a child?
Sure, and I still appreciate being a passenger in a car or a train. I guess it’s like watching a movie, or a campfire.
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