... I have a deep love for the act of creating a painting and a huge respect for the history of painting. Whatever happens within that framework of painting is fair game. Essentially it’s my natural impulse to play, pervert, and warp that structure as much as I can. That attitude allows for more possibilities to occur rather than simply engaging in a completely redundant and repetitive task. For example in some of the pieces I’ve done away with the canvas and stretcher bars all together. It’s all just sheets of paint that are allowed to fold and drape as they will. It allows the paint to take on some unexpected sculptural qualities, to do things it was not intended to do. Yet other paintings that are more about traditional techniques of creating illusion, color & composition. I’ve really been pushing myself to allow different, seemingly contradictory, modes of thinking to exist together: there’s some more ‘cool’ cerebral works sitting next to ‘hot’ more expressionistic paintings. I’m after the tension that’s created when opposites are forced to co-exist together. Foucault’s lecture ‘Heterotopias’ is coming to mind here.
excerpt from interview by Lova De Stadevic with Erika Keck