Mark Joshua Epstein
There is a queerness in these recent abstractions. Unlike say, the hanky code, where a single color can denote a particular sexual proclivity, my works are meant to be looked at for their combinations of colors—for their discordant color stories. I am far less interested in hues or patterns in isolation than I am in these elements being forced together. Layered, interrupted, or spattered, in my work every element occupies the same invented space. Some passages have a purposeful, almost baroque, overwroughtness. Neon is celebrated, often coming through in fields of clumsily rendered pattern. There is a worshipping of the hard-edged but not quite a mastery of it. Things are wrong (and go wrong) on purpose. My work is funny and self-conscious, winking and teary-eyed all at once. We’re in late-night post–dragshow territory where everyone’s makeup is a little bit smeared and everyone’s voice a little raspy.