Over the holidays, I laid a large piece of raw canvas on the floor of a friend’s art studio and slashed and hacked away at it with a housepainter’s brush. Sure, it was action painting—nothing nobody wasn’t doing in 1951 (wait, does that triple-negative still make a positive?). However, old methods can convey new messages, including one that represents the sweaty, immediate present.

This was the result:


Every single inch of the 5-foot-long canvas is affected; even the seemingly blank areas are activated by small splatters. In this way, this painting acts as a metaphor for race; that is, there is nobody in America that is not affected at this cultural moment by the discourse of race and difference. Ferguson was the watershed, the explosive catalyst. Eric Garner, like a wide receiver, carried the message farther.

I titled the piece Denature because it talks about how Michael Brown, and many others before and after, was stripped of his dignity–and all his essential qualities–that fatal day. It talks about the denaturing and pervasive effect of systemic racism.

Denature closeup
Hiccups and droolings of paint: Denature, 2014 (closeup)

Working spontaneously on a large scale was extremely cathartic for me; a lot of grief and rage bubbled out. However, as an artist, I was careful to follow up with methodical refinement. Right now this piece and another larger painting, titled 12:01 to Eternity (referencing the time Michael Brown was shot), are in an incubation period. I’ll leave them alone for a month or so before revisiting them for additional revisions. Because, as with emotion itself, time provides some perspective. But in the end, this perspective may only open up more questions than answers, not unlike race in America.

12PM to Eternity closeup
12:01 to Eternity, 2015 (closeup)

For contrast, a painting from 2008, Convergence