"From time to time I have looked to words as a means of expression, playing not the role of the artist but rather the role of a chronicler, a diarist, or a pedant. While assuming such pretentious distractions, however, I have become keenly aware of the unbridgeable chasm that separates literature and painting, that is, words and images. The truth behind my work lies in all the weeks and months spent in the studio creating images from a chaotic enthusiasm for painted marks. Accordingly, my paintings reveal a communication without the support or strategies of words. It follows that I prefer my painting to be judged as simply painting.

For me, the essence of my art lies outside the verbal descriptions belonging to conceptual impulses and more within the actual process of painting. Requiring a sensitivity to matter and its expansive potentials and limits, the act of painting creates a web of relationships. Each variable of my process holds a deceptive significance. For instance, understanding the nature of materials means acknowledging the relationship between painter and tools, painter and surface, painter and paint and how varying each element can affect the mark that is made. Painting is purely the conclusion of an extensive process of invention and intense fabrication.

It is within a chosen form of art, in my instance painting, that the artist tries to grow without novelty being the primary reason for the work’s existence. Being conscious of his/her own creative, technical and philosophical innovations and interpretations, the artist can continue to work prolifically and truthfully within his/her prescribed art form. Novelty for the sake of novelty is rarely connected to the qualities and values that have traditionally made up a work of art; novelty is clearly a discovered result, not a sought end. Because of the clear context in which a given art form operates, achievements and progress are possible due to practiced skills and discipline on behalf of the artist."

Kevin Sinnott