This series began by accident when I set three unrelated abstract paintings against my studio wall. A new tension between continuity and separation emerged as I viewed the paintings in a new context, with the resulting seams as part of the composition. Where the paintings adjoined, sudden shifts of color and form that already existed in the individual paintings now became amplified. Sweeping brushstrokes either collided against the hard edge of a seam or connected with a similar mark in the next panel.
I selected a 16" square panel as my new format, then began making paintings by bolting multiple panels together. I begin the process by clamping the panels together and then paint them grouped as a single, larger image. I then break the panels apart and rearrange them on the floor until they combine to form a new composition.
The elements of chance and accident are the most important qualities gained through this process of construction and deconstruction. The final painting balances deliberate painting and hidden composition revealed during the shuffling of the panels. In a sense, I'm collaging my own paintings to create new ones. More specifically, I want to use chance and accident to stretch and shift my innate sense of composition, color combinations and brushtrokes.
Finally, the seams or edges of the adjoining panels create a grid, an effect that is particularly obvious in the larger paintings. This grid reinforces the picture plane and becomes a zero point that brushstrokes and forms interact with - moving behind or advancing ahead. The grid also serves as a matrix within which you can find deep space or flatness, continuity or abrupt change.