My current paintings use a highly constrained visual praxis: For the most part, I primarily use simple open and closed convex curves of genus 0 or 1. This is a severely constrained set in light of all the possibilities.
Occasionally I throw in a non-constrained deviant, or something that is more of a mess, a scribble, than a mark. Again, I have no “pure” intentions, nor reductivist ambitions, here. I am more interested in discarding the referentiality of Modernism and Post-Modernism, the baggage of the whole mimetic tradition.
This is also, of course, why this work is explicitly post-Structural and post-Conceptual.
Notice, too, that amongst the referential modes I reject are the highly regularized patterns, geometries, and rationally predictable “formats” of that wave of abstraction we first saw emerge in the late 60s and 70s and to a certain extent, still emerging in Los Angeles and later, again, amongst the Post-Moderns, especially as tilings–to say nothing of the Modernist grid, and its “formats”–are all considered references to external systems to be avoided in this new endeavor.
Geometry is insufficient.