All of the works below are created by disassembling and re-assembling cubes from previously completed paintings or studies. I call them remixes for several reasons. The “finished” compositions that result are re-assemblies of components of prior work, which are always re-assembled differently from an original. Also, the word or phrase “re-mix” is a reference to its use in the world of popular music where it refers to a re-visiting of the hook from a song (not to be confused with a “mash up” which is a remix of more than one song, but I digress). Technically the compositions aren’t remixes in the same way a song might be, since I’m not borrowing other artists’ work and re-arranging it.
These works grew partly out of working with physical cubes, and I like the idea that these two bodies of work will share the quality of being temporary and non-permanent (also like music, at least, live music). This strategy of composing also (for me, at least) centers choice a in a way that my more conventional, rectangular-format paintings can’t. This difference doesn’t make them stronger, just… different.
To me, the act of intuitive “play” without a known objective is what makes much formalist abstract art, well, non-objective. I also think the appeal of these has a lot to do with my on-going interest in the aesthetics of cellular animation, and how the visual “snap” that stacking of image layers to create space is unique- I remain intrigued by the way overlapping cubes imply that they co-existed in some other, shared space which is not defined compositionally, in fact, the opposite (referring here to the white of the wall).
I did think of the work as finished pieces at the time, rather than a project, or as site-specific installation art. As I develop this project, I believe future iterations will involve viewer participation in the play and decision-making though…