In these interference paintings I am interested in the essence of captured light, making visual weavings of color from ambient light reflected, transmitted and absorbed simultaneously. In terms of affect there is an unexpected turbulence and depth in these pieces, of seeing into and behind the sometimes brilliant surface veil of reflected light into clouds or darkness.
Interference paints use a film of metal that I can work with a knife across rigid flat surfaces in a way which allows for intuition and spontaneity. The pieces themselves are conspicuously 3d figures projecting from the wall and present their outward painted surfaces framed by the fluid edges of knife applied paint., black and white first and then the transparent interference colors. The worked surfaces isolate two phenomena: visual paint texture and light. The interference colors (two primary and two secondary) are very sensitive to light level, temperature, source and direction, and hues shift as the viewer moves around looking at them. Visual texture results from drawing the interference paints across the B&W picture plane leaving witness marks of the physical panting process.