When I consider painting as all, I do with a position that painting approaches an omniscient level that can only exist with the collapse of the vertical axis between man and god. This collapse leaves painting to operate on a horizontal axis of man and the universe where everything is connected and related to each other on the same level.  The produced objects or images–the work–are not made or positioned to suggest something in a reminiscent way, of an other thing existing in the world past, present or projected into a future–instead they are all. All is material and therefore has its own language and matter that thinks, you’re it as it is you, experience and matter. Thus, painting forgives itself for a second day. The event that has existed and therefore is history as a series of events, however, longs to be looked at and understood to be changed. The images that I paint evolved through my hand, my experience and my arrival at this point and in-turn arrived through their material history and evolution.  A mediation therefore exists between the individual, collecting/painting of images, and the universal experience of seeing.