David Gracie states, " a representational painting cannot realize an image in an instant like a photograph, but a painter can try to paint each brushstroke as close to the present as possible". This process creates thousands of framed moments in time superimposed on top of and beside each other. The painting then becomes a compression of these moments into one framed picture. Gracie understands the imperfect and subjective quality of these moments, and uses them to understand the individual or subject he is painting. The result is very clearly human. There is only the act of trying. In his pursuit of humanity, applying a subjective and imperfect medium makes sense.
There is a dramatic pressure between the life of the image and the process that ties it down. Gracie's paintings are the keystones of these opposing pressures. The results are spastic, tight, cold and in effect human.
Gracie wants his painting to move forward by stripping down realism. The relationship between the painter and subject is the meaning. The devotion of the painter toward the subject is the simple justification of the work. This new devotional painting exists within the frame. Viewers cannot peel the meaning off the work. The image and the meaning are inseparable. The act of trying is the final result. Devotional painting is the process of taking back the general to the humanly individual. Dealing with humanity is another matter.
Good painting diffuses meaning like crystal bends light. The meaning is, but, undefined. It is about beholding. Most specifically, it is about looking. My paintings are made to work in the still and quiet way paintings are.
My work exists between the subject/object dichotomy. I want the work to be autonomous, but I know the impossibility of this happening completely. I want to make work that stakes a claim to the middle ground. I do not want the work to exist between the painted image and the source it was culled from or the object-ness of the painting and the beholder. It is between me and the image. The tension between trying to work objectively-- and the medium's resisting-- produces a dramatic action.
My new work is cold, clear and silent. The work vibrates uncomfortably; there is a spastic tightness. The figures are over-described and embedded into the surface of the painting. This results in a detached image that pushes against the picture plane. There is a dramatic tension between the life of the image and my process that ties it down. The painting has turned into a keystone between these opposing pressures. Having wedged the painting between me and its source, the result is a buried image struggling to break free.