All the works for “Slump” were fabricated in board, variform (a thermoplastic gauze)and enamel paint, including all cans, boxes, etc. These pieces were intended to question the boundaries of the painting surface- where does the “abstraction” end and the figuration (the objects depicted) begin? Are drips in the paintings as intended as those “accidental” ones on the cans?  I have the canvasses slumping for several reasons: the notion of some that painting is tired, as a connection to today’s global political and economic climate, and to make the paintings affect a more human and individual character. In the end, though, I’m after a sincere endorsement of painting.  >Click here for New York Times review 6/20/08