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Various states of undress, construction and repair My current work invariably begins with construction. I use the industrial environment as source material for the development of architectural structures within my painting practice. I find that there is a moment between looking and registry, between the recognition of an object’s existence, and the recognition of the associations that object holds; it is in this moment of flux that I experience the most affecting changes applicable to my work. Over the past year my necessity to keep a notebook has been minimal. Each work acts much like the pages of a sketchbook. I build ideas one on top of the next, from painting to painting, reiterating the importance of construction in my studio practice. The structures change slowly, as if each work is one step closer to a complete, and culturally reflective, language. The choice of material (Plexiglas, tape, spray paint, mirrors, acrylic, etc) reflects my industrial surroundings. The limitation Plexiglas holds as a material instructs my decision making with regard to the composition and shape of my paintings. The construction of the painting itself is exposed with the wooden stretcher filtering through the transparent acrylic sheet and the overlaid architectural structure. The use of mirror allows me to invite the architecture of a situated space in to the work. The paintings are always imbued with sentimentality and personal narrative. The titles of my paintings reflect the continuous changes I experience while making work each day. It is an ongoing interest to better myself as an individual, much like I attempt to better my skills as an artist. I consider the titles of my work equivalent to an open book exposing my nature, my flaws and my growth. Jason Gringler 2008

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