Are the paintings developed around a specific matrix of co-existing values?
Not so much developed around as in acknowledgment of that agitation between abstraction and representation, expression and the absence thereof and a studied, scientific approach versus intuition. What happened to the technological reference imbedded in most of your paintings made between l996-2000? How do you describe your recently developed filtering system? That reference seems as applicable to Islamic pattern or Byzantine mosaics as it does to digital technology. That allusion still resonates, albeit much more quietly. These new filters are also based on the principle of utilizing pattern to reconstruct an image but rather than employing geometric, repeated modules, I’m now using a second image through which the source image is seen. How and why do you use distance in the paintings? Primarily due to the fact that I don’t have an emotional investment in the material from the outset. That and the fact that you can’t see a painting with your nose against it. Interview with Steve Lafren
