Abstraction can be chancy business. The road from an initial idea to a completed work is uncertain and full of hazards. These works push that impulse, playing pours and stains off silhouetted hard-edged imagery.

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This imagery is directly pulled from publicly distributed visuals coming from battlefields over the last several years. Photographic footage from drones and from the perspective of foot soldiers are applied and distorted to create lopsided disorientation, subverting gravity.

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These are meant to be a bit painful to look at, pushing high and low values and dissonant color combinations to create a retinal dissonance, not dissimilar to the visual washout caused by flash bulbs. Bombs bursting in real time.

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Sometimes I need to paint the “after.” In High Street, the attack is over, and all that is left is fractal shale—dangling, barely holding.