I treat a painting like an object that needs to be worked on to reveal its secret. Like the inverse of an archeaological dig – the past gets over-painted in layers and the present is pushed to the surface, but not fully, there are still traces that show the passage of time as environmental flux.
Over-painting is an act of redaction, yet in that act lies truth. Paintings can be the redemptive action of a space, remade as a buriel, wrapped in hinterland.