These days, a painting often starts with a small idea about everyday life--a nasty break-up, for instance--that might incidentally be read as a metaphor for a larger, more universal issue or argument even though the connection may be completely unintended. Nonetheless, I've always taken the position that individual artists' widespread adoption of these approaches is, in itself, an indication of our deep and pervasive social problems, regardless of the artists' intents.
Recently in the studio I've begun to turn my own thinking around. I've resolved to look at the specific challenges and personal circumstances that form the impetus for each painting as symptoms of larger problems within our society. The problems then become the explicit basis for each painting, rather than simply an inadvertent or unconscious reference. Instead of using process and materiality as metaphor, I want to reinvigorate the notion that abstract paintings can in fact be directly engaged with the world. In his remarkable paintings currently on display at Outlet, Matthew Deleget seems to be thinking along the same lines.