The provocative affect of these visceral bodies without skins (or fields without grounds) is produced by a strange and uncanny process of displacement. For example, this painting (Untitled iii) (figured from photographic traces of the Sonoma Valley, California, USA) strains upwards, and its phallic thrust (an idea activated by the small erect and misplaced phallus) registers as a taut, straining body without its skin. Such grotesque vulnerability, like that of the paintings of Francis Bacon, provokes a return of the uncanny and like the paintings of William Blake, figures a human condition, not at home, but straining toward transformation.
As a condition of that displacement, the figure in this painting was produced on the boundary between the inside and the outside of an archaic male body, where marks and motifs flutter and slide along its fissures, over its projections and into its desires and energies. By activating the contradictions between play and control, formlessness and form, repetition and difference, sublimation and becoming, and by submitting to what the Surrealists call “chance”, I trouble the hegemonic subject-object distinctions which sustain our current order, by working toward that precarious moment when the painting ‘comes alive’, each work distinctively itself, complete and poised. Such inter-subject -object adventures going well, each painting is ‘birthed’ as a treasured surprise.