SciArt Magazine - All Issues - Page 16

to physics for its ability to explain the big questions and started undergrad with the intention of getting a physics degree, but found myself immersed in making paintings and occasionally selling them out of my dorm room. Ultimately, the pull to the visual arts was too strong. But I have always been a voracious reader and keep up on cutting edge ideas in physics and science in general. It wasn’t until later that I consciously tried to combine my interests in art and science. I had to change my methodology. So, being interested in the methodology of science, as well as the mechanics of sound (I also make sound environments and music) and the science of the observing mind, I thought about how to combine these elements into a strategy for working that would fill a lifetime and never get boring. I imagined a practice that would be efficient and effective and perhaps, if only for myself, a practice where I could discover something of interest in the laboratory of my own mind; the laboratory of paint, that Untitled 12 (2012). 21 3/4” x 29 1/2”. Acrylic polymer emulsion on paper mounted on panel. Courtesy McKenzie Fine Art. Q: In your work you have developed what you call a “system” for painting, based on physical properties you have studied. Can you describe the character and formation of your method? A: Fifteen years ago, I was painting in a way that would require 1-3 years to finish a painting. The end result was satisfying, but I knew tha t if my art practice was to be a life-long endeavor, 16 I had not known before and perhaps have verified through the hard sciences. I wanted to create a personal exploration using an intellectual, logical, thought-out methodology in balance with the intuitional, experiential knowledge gleaned from decades of making abstract paintings and develop a semi-self generating system for making work that I could orchestrate like a conductor. So, quite SciArt in America August 2013