PAINTBALLS
Pushing the paint process and material to the bare limits of function and form, Paintballs looks at paint from an ontological perspective. The base properties of paint: pigment, binder, and volume are displayed as content through timed, durational hand manipulation. Placed atop reflective surfaces, the intimate objects are reduced back to images as the mirrors allow the voluminous forms to illusively float, independent of their surroundings.


















FLESHED OUT
Fleshed Out is an ongoing series of portraits portraying contemporary portrait painters, constructed exclusively of pigments labeled flesh, skin, and portrait tones. Over 15 acrylic paint manufactures produce pigments with these monikers, revealing a commercial and cultural bias within the field of Painting. The “racial” diversity of the subjects succinctly derides the appropriateness and need for such colors to exist under their ascribed designations.





VENN DIAGRAM
Call it cooperation, collaboration, collusion, conspiracy; Venn Diagram is a progressive pursuit to generate rational iterations intersecting the individual practices of Peter Bugg, Marco Rosichelli, and Ryan Peter Miller. An evolving chimera born of painting, photography, and sculpture, this exhibit renounces objective authorship, giving the work an opportunity to live beyond the overbearing determination of ‘what’ and ‘why.’ This work is not without meaning or intent, but these qualities are secondary to the act of creating synchronicity and seeking dialogue for the sake of dialogue. We hope that by sharing good questions the answers are less important.

















TYPES-O-CYAN
Masquerading as tubes of cyan paint, Types-O-Cyan, depicts portraits of pigments, wearing their commercial costumes. In commercial applications, such as process printing and electronic display devices, cyan is a persistent phenotype, with an explicit set of color properties. As a Fine Art product, cyan paint lacks the color consistency found in its Design trade sister. This series articulates the subtle differences between branded colors. Each image is hand painted using the color contained within the depicted tube, emulating the halftone print process.




















UNDERBELLY
Every painted image is reliant upon an invisible support structure: historical, conceptual, and physical. Flip over the conventional painting stretcher, and one may see the desiccated drips of paint collecting along the edge, the structural support of the crossbars, or the inadvertent seepage stains of pigment pushing through the gessoed canvas. In this series of paint objects, incidental affectations of the painting substrate are elevated into intentional contrivances.










MARK MAKING
A double entendre, these drawings depict acts of procreation using a variety of descriptive strokes. Recognized celebrities christened by the moniker “Mark” are illustrated using scribbled line, crosshatching, stippling, and similar techniques, against a backdrop of sexual congress. While the couples conceive their Mark, the image is constructed through a system of marks.






EXCAVATIONS
Paint is a dinosaur.
Acrylic paint is pigment suspended in a polymer emulsion–plastic–petroleum–fossil fuel–dinosaurs. Coats of paint, poured over wood panels, function as strata of sediment and time separating us from Earth’s extinct overlords. The prehistoric subjects are excavated from the applied layers of paint by carving out articulate trenches, revealing the true nature of paint.











AIN'TINGS
Ain’tings are not not paintings. It is enough for paint to represent itself, as a process through which we understand our finite existence and as a complex cultural artifact. Through casting, pouring, peeling, and stacking, the medium is brought to a hyperbolic, but logical conclusion.
































































