I ran across this digital printing process last year that allows me to build up four
or five layers of oil paint on a canvas and then run the entire object through this large
commercial digital printer.
And then I can bring it back into the studio and paint over it.
So it makes for a really nice, seamless, integrated use of digital printing and oil paint together
in an object.
So explain to me again what the resin does to the colors at the surface of the piece.
Because you said earlier that it's in a war, things together?
Yeah, in some areas.
Where like I've added some white in the ear and then there's some touches where I've
gone back through the image and started to add, you know, some of these darker tones
and this actual wet paint right on the surface.
Okay, so the resin is going to react with the wet paint.
Yes, so it's basically just going to become essentially a varnish.
So much of these images are, you know, they're fairly eclectic for individual paintings,
but as a show, seeing it all finally in one space and hung properly and lit, I mean, it's
really nice to have that sense of unification in some ways.
Yeah, no, I mean, they totally belong together.
I think they're all very different from what you did before.
I mean, I see them as one body work.
This show becomes a strange resummary of everything that I've done, like the last, maybe five
or six years.
And I think if you think about it more in those terms and look back across everything
I've made, between all the different mediums and materials, all of that is sort of condensed
into these ten paintings or something like that.
Yeah.
