". . . what will not have . . ." - ruled in some measure by the negative future perfect, or future anterior denial evoked in its title. Titles in my last show indicated lines of filiation or homage. Titles in this show tease with an approximation of descriptive phrases that none the less fail even to evoke the simple presence of something, no matter what, anything at all, mere existence: whatever is announced or called in these elliptical phrases is constantly being erased. Moreover, it is its own erasure.
Like all of these works, this one went through a number of stages while remaining the sam. I had a basic idea: that of a fleshy tone to ground the cosmetics pigments used elsewhere in the works, often layered over reds or pinks, all sorts of fleshy tones.
The interference pigments I use were designed first of all to look good next to or on top of flesh tones: in some ways a photograph of a bikini clad model lying on a car coated in these pigments would be an ideal point of reference for some of my works.
This fleshy colour, what John Sallis would call, after Hegel, "carnation" is literally the "foundation" of a great many of these works.
Although in ways they feign the lofty tone of the post-minimalist monochrome, I think of these works, especially their placement in the space, as having an element of playfulness. It seems only appropriate to acknowledge the fact that the colours used here exist in the world also, on lips, above and below eyes, on cheeks, on the curves of custom cars, on sneakers, on mobile phones, cameras and computers, in packaging and mazrketing: in this way the material substance of my work mirrors my attempt to allow the work of painting to involve a relation to the world other than that of representation
