After sculpting for 20 years with cast iron, I am now rejuvenating the genre of painting by using 2800 degree molten iron like it was latex paint. The gestural strokes and splashes, my persuasion of the liquid fire on its collision course with the picture plane, create beautiful and unpredictable marks that both scorch the surface and burn down into the depths of the layered paper revealing that which is underneath. Each painting successfully captures the creative moment in a dynamic, spontaneous and visually compelling manner.
This new work touches upon several art historical precedents including Duchamp's exercises with random chance, Kant's notion of shared cognition between nature and art, Dove and Kandinsky's non-objective abstraction, Pollock's action painting, Serra's thrown lead and most recently Cai Guo-Qiang's gunpowder drawings.
But unlike all these I’m transforming the controlled chaos of experimental foundry practice with its youthful exuberance and fearless exploration into visual poetry. By allowing apparent randomness to play a role in the work’s creation, I’m fostering the creation of work that would not be possible if left solely to human cognition. What better way is there to explore what has yet to be conceived?