These paintings were made on a rotating easel using a variety of painting tools, including automotive pin striping brushes. The serial format allowed for chromatic and textural experimentation within a compositional structure intended to mimic that of the painted portrait. The titles, inspired by the resemblance to religious iconography, were drawn from a calendar of Catholic saints feast days and often indicate the date upon which the painting was finished. These paintings also correlate strongly with 1960's Op painting, a precedent revisited in later bodies of work.
Although it may seem counterintuitive, one of the principal attractions of the "target" image is the frequency of its recurrence in late-20th century art. An image such as this, for which a 21st century artist cannot realistically claim ownership, consequently makes an ideal vehicle for inquiry into, and commentary on, the subject of historical precedent.
These works were exhibited at Linda Cannon Gallery in Seattle, Washington; Meyerson & Nowinski Art Associates in Seattle, Washington; Elizabeth Leach Gallery in Portland, Oregon; and elsewhere.
