The "Wave" Painting and table.
The mica flakes in water flow down a slight hill around an arc into a hole on the canvas which is stretched over a jig built on a table, like a down-hill ramp in a parking garage.
88 bottles are used as weights, attach to the back of the canvas with strings through the table, acting as weights to pull the painting surface tight to the jig, deforming it to the downhill shape. 60 fins form the supporting ribs. Over four curving feet, they decend a total of one inch in elevation. Each fin is one third of a millimeter lower than the previous --shimmed with pennies, scraps of wood and clippings from yogurt containers.
It took me three years to build, two weeks to prepair each painting. Out of three pours, I have two successful paintings and one I threw away.
Lately, I have been traveling the house in headphones, occupying my individual space, narrowed in my constraints to clarify the otherwise difficult-to-see relationship between the surface and the under structure as they embody duality. The surface: shiny, flowing, gestural, innocent of what guides its happenings. While below: the building of fundamental structure, accumulating until it becomes errant, producing the forms of life above. I want to know how these two relate and what they know of each other.