Many collectors, writers, curators and supporters of my work have asked about the relationship between “oblque” images and the larger body of my work.
I have long been intrigued by oblique images in general/ wherever i might find them and they are everywhere. I find fascination for example in the paving and repaving of a country road or city street, the way that the concrete is lighter in one section / darker in another section or smoother or rougher. The way that one section may bump into another creating a certain drama that no one is paying attention to, certainly not the sreet paver who cares little for such aesthtetic juxtapositions.
The side or back of a truck that has been splattered with mud and salt and paint may come very close to the abstract paintings of italians during the ‘art povera ‘ movment in post wwII Italy, who worked with common materials like mud and sand and wood, in part because they were very inexpensive if not free, and for the pure simplicity of the materials which encouraged a poetic use of those materials. Stone steps we find in the bahamas that were put together years ago and compliled of stone and cement and fixed with more stone and cement, then exposed to the tropical rains and the hot tropical sun, take on a terriric beauty for their “patina,” their strength, their irregulariites of surface, height and width – yet still functioning as well.
Finally one sees faces everyewhere that are “oblique” in trees and sides of houses, whether large or small /new or old.
I have a tree on my country property that is right out of a cartoon by Dr. Seuss, with its bulbous protuding shapes and various eyes and noses thru which squirrels run and hide and scamper thru the day. The bark of trees so often resembles the dry rough abraded skin of an elephant, and these trees provice a wealth of oblique visual information to this post painterly abstract painter.