36x72in
91 x 183cm
Acrylic on Canvas
Hand-stretched
Backboard Hand-Framed
About the Unbleached Series
The Unbleached series was conceived of in a whirlwind of creative desperation, but has undoubtedly become my favorite art to make. Its stark, raw simplicity evokes a subtle, yet powerful, influence that encourages the eye to wander.
Just before making the original ‘Unbleached’, I was new to California and starting from scratch. I had just recently begun building my own backboards to more sustainably make larger works, and was surrounded, taunted even, by the recently stretched canvases that lined my furnitureless living room.
One night, frustrated, and met with an inescapable urge to ‘just finally fucking make something,’ I mixed up the only paint I had in the apartment and laid down one of my largest canvases. Truthfully, I had nothing in mind. No shape. No motion. No vision for a series. I just wanted to see what would happen when I poured paint over the canvas. I’m so glad I did. In that moment, the original Unbleached was created.
Since that day, the series has matured into something I’m extremely proud to call my own. Firmly rooted in its two key components, raw canvas and black paint, it’s only with the varied motion of the stroke that I can make new and unique works. It’s this difficult balance of freedom and constraint that I deeply enjoy exploring.
What eventually draws most people’s attention, though, is the irregularity of its pricing structure. Lacking clean zeros and any apparent consistency, the pricing of the series was ultimately designed with gradual growth in mind. Like many other artists, it was very difficult for me to price abstract works so early in my career. I wanted to sell the first few works at a low enough price that early collectors could invest in me from the beginning while letting water find its level. I wanted the people that trusted me from the start to be proud of their works, and their keen eye, as the series expanded.
With that, I decided to remove the burden of pricing from my ego and made it so after each successive installment of the series the price of the next work would double. It was bold, but I knew that by choosing the right starting point, only $0.64 (yes, cents), the price of the series could slowly grow into its own while giving me time to explore the paint. Now, years later, the series speaks for itself, and the price is only beginning to catch up.
36x72in
91 x 183cm
Acrylic on Canvas
Hand-stretched
Backboard Hand-Framed
About the Unbleached Series
The Unbleached series was conceived of in a whirlwind of creative desperation, but has undoubtedly become my favorite art to make. Its stark, raw simplicity evokes a subtle, yet powerful, influence that encourages the eye to wander.
Just before making the original ‘Unbleached’, I was new to California and starting from scratch. I had just recently begun building my own backboards to more sustainably make larger works, and was surrounded, taunted even, by the recently stretched canvases that lined my furnitureless living room.
One night, frustrated, and met with an inescapable urge to ‘just finally fucking make something,’ I mixed up the only paint I had in the apartment and laid down one of my largest canvases. Truthfully, I had nothing in mind. No shape. No motion. No vision for a series. I just wanted to see what would happen when I poured paint over the canvas. I’m so glad I did. In that moment, the original Unbleached was created.
Since that day, the series has matured into something I’m extremely proud to call my own. Firmly rooted in its two key components, raw canvas and black paint, it’s only with the varied motion of the stroke that I can make new and unique works. It’s this difficult balance of freedom and constraint that I deeply enjoy exploring.
What eventually draws most people’s attention, though, is the irregularity of its pricing structure. Lacking clean zeros and any apparent consistency, the pricing of the series was ultimately designed with gradual growth in mind. Like many other artists, it was very difficult for me to price abstract works so early in my career. I wanted to sell the first few works at a low enough price that early collectors could invest in me from the beginning while letting water find its level. I wanted the people that trusted me from the start to be proud of their works, and their keen eye, as the series expanded.
With that, I decided to remove the burden of pricing from my ego and made it so after each successive installment of the series the price of the next work would double. It was bold, but I knew that by choosing the right starting point, only $0.64 (yes, cents), the price of the series could slowly grow into its own while giving me time to explore the paint. Now, years later, the series speaks for itself, and the price is only beginning to catch up.
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