Tension (esp. sexual tension) is the catalyst behind the creation of my paintings. If libidinal resolution is not immediately forthcoming, I turn to my canvas in an attempt to build a dialectical bridge across the time/space crevice which separates the Other from myself. This phenomenological process is, at best, a diversion from the pain of an existential life. I’m not so much concerned with “knowing” the Other (the unattainable, Kantian “thing-in-itself”) as I am in controlling it by giving it form. At times I succumb to its domination and am negated by it, and at other times, I’m on top, effecting a double negative. Rarely (if at all), when I paint, does an alchemical union occur between the Other and myself (I find that attaining this state of ego dissolution (the solutio) is only possible during sex, sleep and, it must be presumed, in death).
I strive to live my philosophy — I’m in a constant state of sexual tension — and when I’m not [living it], it reverts into art. Painting is, therefore, one of the things I do in order to satiate the hunger that threatens to tear my life apart.