Super Special Chat Twenty Dollars, 34" X 47" Acrylic & Foam on BoardBack in Calgary, on my Mother's couch watching cable, I was struck by some familiar strangeness in a Looney Tunes cartoon.
It was the one with Foghorn Leghorn and the Dog and the impossibly hungry weasel(possibly my favourite cartoon character). The dog has convinced the weasel that he should not chase the little chicks, but rather go after bigger game, in the form of Foghorn Leghorn. In the midst of all of this, the dog occasionally pauses to deliver a few lines directly to the viewer.
I would say "directly to the camera", but this being an animated cartoon, the camera is non-existent.
This means an animator decided to have a dog he was animating speak as if he were pausing from some scripted scenario to deliver a few lines to a non-existent camera.
I find a corollary in what the animator is doing, by having the dog speak to an imaginary camera, to what I am doing in the studio lately. Applying paint skins, draped and folded, coming far off the board and towards the viewer, mimics the dog's pause and delivery. While both the application of paint directly to the painting - poured or applied with brush to render illusionistic form - and the attachment of paint skins are both from my hand, the former adheres very strongly to an official narrative, and the latter to some subtext or supertext(?) that feels a bit like Rauschenberg adding a bucket and other items to an otherwise typically painted painting, but even more like that Looney Tunes dog.
The attached paint skins are the dog turning from the action, to deliver the very necessary joke possible only in an aside by a character drawn and imagined in the same incubator as the rest of the narrative.