Painting is a means of thinking visually in real time. Or giving tangible form to suspended information found through seeing “thinking” and feeling “seeing.” Often, my images develop out of a fascination with the formal properties of specific information— say, the shape of a hull in water, its negative shape that of a wave, affected by weather and the perception of space. My paintings are frequently afterthoughts of previous investigations, showing how variables can be endlessly depicted in service of creating new fictions.

I employ a wide range of media, including video animation, painting, and sculpture, to examine the relationship of the performative body, physical form, and the struggles of authenticity. Through a process grounded in experimentation and narrative, I break down and reassemble structures that explore craftsmanship and object-making. The final constructs reference art history, historical artifacts, and storytelling. They are subtle assemblages that stress the evidence of mark-making, handwork, transparency, performance, and time.

In demolition, commercial architecture that is prefabricated and systematic becomes unique and chaotic. The internal framework is dragged out into the sunlight and momentarily framed by the exterior surroundings. Signs and logos are reduced to the value of the recyclable material on which they are printed; the signifier is detached from the signified. These images are the catalyst for my work.

I am interested in the constant flux of the visual world. Through common distortions of light, shadow, and atmosphere, the familiar becomes abstracted and unfamiliar. Thus, for a fleeting moment the mundane transforms into the sublime. My work explores how these phenomena affect my own sense of perception and physical location through a material-driven painting process. Using reductive abstraction, I synthesize the transient elements of my surroundings into multilayered compositions. In the paintings, these elements allude to ever-shifting landscapes:

My conviction rests on a plane of artistic good sense one moment, and teeters on the threshold of nonsense the next. My aim is to reconcile this conflict as little as possible.

By combining scraps of wood, fabric, and other found materials, I construct abstract paintings that have a rough-around-the-edges quality. I embrace the inherent imperfections of my reclaimed materials to emphasize the works’ off-kilter geometries and irregular symmetries. Though modest in scale, the painted constructions occupy a space beyond their physical dimensions. I play with architecture to create unconventional installations that require the viewer to actively look in order to discover them. Through both my intuitive creative process and the viewer’s

My drawings and drawing installations are founded on my explorations of the city. Often working outside or in my car, I read the landscape for found fragments of language, and, with ink and other water media on paper, I record the poetics of built structures and the communities they frame and contain. I often piece together fragments in a cumulative manner, not unlike the way the urban landscape is collectively authored over time. In my most recent works on paper and panel, structures and detritus from the physical landscape become a metaphorical framework

My recent works are oil paintings on sewn canvas panels and unsewn canvases on which a hybridization takes place through the implementation of three-dimensional objects that are either sewn on or attached with adhesive, threads, and paint, along with organic materials such as eggshells and holy water. I combine seed beads, faux grass, and 24-karat gold leaf, as well as oil on wooden extensions of the canvas. The work shows elements of ritual and tradition.

“Donald Martiny’s bold pieces drew my attention for their unique visual impact, which owes partly to their scale, but also to their daring focus on a single pigment. Martiny’s work is pure; it is painting at its most elemental, composed of a single medium, a single gesture, a single colour. Martiny sits in a line of tradition from Malevich to Rodchenko through Newman and Stella. But, this is paint and painting laid bare, off the canvas, and uncomplicated by storyline, personality, politics or even historical context. In Martiny’s hands, paint becomes structural. As such, his work