I return to my studio at 5 p.m. and turn on All Things Considered and a contraption that heats epoxy resin up to about 160 degrees. I check on some material experiments that are already cooking in the back of my space: currently pieces of paper soaking in a mixture of alcohol and permanent markers, which I eventually plan to work back into with chlorine bleach.
I do ink and resin experiments on prepped panels until the early hours of the morning. The experiments proceed through something like a Richard Serra “Verb List,” where various procedures are applied to a given material in order to tease form and structure out of them.
After working into the early morning, I will come back the next day to see how the panels developed overnight and start considering how to work back into them. This is my orgiastic moment: contemplating how to combine the abstract process elements with other images. Either from my photo library or sketchbook. I might plan a photo or sketch trip somewhere if the paintings call for it.
I usually have a general idea about where the body of work is going, and this informs both the material experimentation and the reworking. This can be a long process that could involve months of preparation and painting.
Bliss out studio session number two is a rainy November day in which I paint meteorites back into those abstractions I did in May for 16 hours while I listen to a Radiolab marathon…my wife and daughter visit me throughout the day to see how things are going.
Nerdy, but that’s a 10.0.