My style of painting is premised on the exfiltration of paint through the weave of the canvas. Just as paint lengthens when squeezed out of a tube, my canvases extrude paint-lines. This allows me to explore the sculptural aspects of paint. My approach creates a medium which is the synthesis of both painting and sculpture. My intention is to work through a problem within the two magisterial media of visual art: painting and sculpture. The problem is this: how far apart are the two mediums? I try to collapse some of the conceptual distance that divides them. This 'collapse' happens to favor painting. The canvas has always been the literal base for painting, but how often has paint itself played a sculptural role? By turning the familiar (flat paint) into the unfamiliar (moving paint strings), I am not only paying homage to Russian formalist critics and their concept of "ostranenie," but I'm also experimenting with a Bachelardian poetics of the granular. My work tends to be small-scaled. The paintings display paint strings that can actually move. Lighting and air flow can activate the paintings into something subtly auto-performative. All the paint used in the paintings is pure acrylic and no other material has been added to the paint. The points of departure for my work have been Jackson Pollock, Lucio Fontana, Mark Rothko, and Eva Hesse. These are now monumental names, but their innovations still reverberate if we value the philosophical conundrum of trying to keep on 'painting' in an age of 'posts' and digital virtualities.