NYU Black Renaissance Noire NYU Black Renaissance Noire Volume 16.2: Fall 2016 - Page 69
Cultural Shift ( Let ’ s Celebrate Lena Horne ) AKA The Lena Horne Jubilee , 2010 Acrylic collage on canvas 48 1 ⁄ 4 ” by 82 1 ⁄ 4 ” by 3 1 ⁄ 2 ” n n
Vibrations for Milt “ Bags ” Jackson , 1999 Acrylic on canvas 59 1 ⁄ 2 ” by 96 1 ⁄ 4 ”
Everything I do is grounded in geometry . Benoit Mandelbrot ’ s first edition in the early 1970 ’ s of The Fractal Geometry of Nature introduced me to a new type of geometry , which I knew nothing about . This geometry is not Euclidean , and I knew immediately that this was something I needed . All art is about perception , and art does not discriminate between Realism and Abstraction .
I believe that our perception of the world has been radically altered by science and technology . Abstraction is the essence of life distilled through the medium of the mind , and I have found that abstraction is my best bet in structuring this cosmic shift in perception . The evolutionary history of Western abstract painting has allowed us access into the molecular structure of perception .
My paintings deal with extreme , elusive , and complex structures . Traditional painting methods are not adequate to structure such complexities . Therefore , the concept of refactoring , or completely rethinking the way something has traditionally been accomplished , is used . I had to rethink how a painting was made . I changed the verb ‘ to paint ’ for the verb ‘ to make .’ Because of the complexity of my paintings , I use parallel thinking to divide complexity into three distinct processes : construct — deconstruct — reconstruct . These distinct processes give me the mind-relaxing element of play , and play is a necessary element in making art .