I think of the Equivalence paintings as social bodies. They are reductive archeological conversations with modernist abstraction, both remembering a position and locating a place, making the painted social body a site of occurrence. As a site, they articulate the operative and associative formal language of relationship. They conjoin dimensionalities, revealed and concealed visibility, and geometric and organic forms with handmade and manufactured processes.

Through calculated gestures, like a surgical operation or an archer’s target practice, these works expose the social context of the gallery wall. They signify presence within the architecture of liminal spaces or thresholds. Like windows, doorways, and stairways that are structural openings in social environments, they indicate ambiguities that propose contingencies. Emotive contingencies found in the existential assurance of movements and pauses, atmosphere and light, entropy and impermanence, and anxiety and humor.

As elemental and amended investigations, the works are provisional. By implicating the contingent space of absence, and employing the connectedness of fi gure and ground, through the viewer’s perception they posit and give circumstance to a greater relational whole.