Pardon Secured...I swear this is the end of my Redemption Song

So, if one looks down time and into my paintings (temporal depth not illusionistic depth, although that may be coming), then something I’ve been saying for years indicates best what I’m on about. The redemptive end bit. Or, at least, what I'm not on about.

When I talk about the finishing a painting, I have said for some time that it is not when “angels are singing” that the real end happens. This loud, triumphant end is inevitably false, mistrusted and eventually dismissed no matter how grand and seductive.

This glorious end, doubted and having been strived for, is too hard to look through, you could not look down the time of the painting through all the angels swaying and singing and lighting firecrackers. The smoke of the glorious redemption is too thick and disallows the reading of temporal depth.

Engulfs and forces a single qualitative judgment of each mark as it is made. The assessment of a mark’s position in relation to the redemptive end ONLY. This perpetuates a popular lie that paintings are a single image, representing an instant, a snapshot. In this to trust the glorious end mean that marks serve the purpose of this lie, they flatten and defer to a future event in which their relationship to every other mark made in the name of redemption will be sanctified. All other marks will have, by the nature of glorious redemption, been eradicated. To paint this way takes advantage of the viewer by playing all games toward a lie.

The redemptive end is not phenomenal or glorious because it was never in doubt, a paintings end, its redemption is secured by its beginning. There are marks made in between which seek the redemptive end, there are extraneous marks whose position in relation to this end are unclear, and all are at once irrelevant, and the marks without which there would be no painting.