• In 1977 Atari released a video game entitled Combat. It was
    a representation of war as entertainment. A representation of
    colored fields. A display of random variation of color
    combinations. It was active geometric abstraction. Distillation
    of representation into simple bits of information. Tanks, fighter
    jets, airplanes, walls, patterns, barricades, and clouds were
    displayed in ever changing random color combinations. These
    paintings are based on this game. I do not paint them as some
    commentary on combat in the real world, rather as a means of
    interaction with the game’s simplified combat as an arena in which
    the subtle elements of color, pattern, endless variation on
    simple compositions, and methods of representation of both
    visible and invisible elements in the game play out.

    Combat employed a fascinating game play
    device--invisibility. The momentary appearance of a tank when
    it fires a bullet, and the immediate disappearance afterward,
    reveals the colored field to be a veil. It becomes a veil that
    divides visible from invisible. It is the medium through which
    these two states of perception are able to interact, to combat
    one another. It is this observation of the colored patterns and
    fields as veils that interests me and served as motivation to
    make paintings based on the logic of Combat.
    The paintings are translating the video game and finding
    what is gained and what is lost in the translation. Errors in the
    transcription are sometimes kept, even accentuated to expose
    the action of painting and thereby uproot something of the
    purpose of the endeavor itself. It is my hope that the language
    of Combat, simple though it is, may define the surface of the
    paintings as veils and display the tension that exists when the
    visible meets the invisible.