"The paintings manipulate a selection of visual languages – drawn from the lexicons of painting, popular photography, and the news media – to create collaged narratives, formulations of my experiential relationship with the world. Intrinsic to all the work, however, is a deep involvement with the materiality of painting; a physicality that insists on a return to the object at hand, the individual painting.
Each painting acts upon the others, exerting a contextual influence over its companions. In this sense, the paintings function as collage. They combine disparate materials, painted elements, and images, each with its particular associative history, to create an unanticipated visual language.
Splinter Paintings
A splinter is a small, thin, sharp piece of wood, glass, or similar material broken off from a larger piece. The larger piece is sometimes not a whole physical object, but a grouping or body of thought. To splinter means to break or cause to break into small, sharp fragments.
A splinter is an object that is embedded in a finger, for example, and must be removed by tweezers by the summer camp infirmary nurse, before breakfast, triggering the first and only episode of fainting remembered: an episode of remembered forgetting, so to speak.
A splinter can refer to a separation, a “splinter group” of paintings, for example, related to one another but also to a whole not present. Often these groups are concerned with a specific agenda that is more radicalized or personal than the larger whole from which they splinter.
To splinter something, the constructs of image making, for example, means to break apart and into smaller pieces.
These pieces may then be placed in relation to one another to create new connections or simply to elaborate on old connections and stretch them out for contemplation. If these smaller pieces are placed in such a way so that delight, interest, and a tickling inclination of new correspondences occur in equal measure, then some poetry has been achieved."
Carmen McLeod- 2009
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