Colour is both a fall into nature, which may in turn be a fall from grace or a fall into grace, and against nature, which may result in a corruption of nature or freedom from its corrupting forces. Colour is a lapse into decadence and a recovery of innocence, a false addition to a surface and the truth beneath that surface. Colour is disorder and liberty; it is a drug, but a drug that can intoxicate, poison, or cure. Colour is all of these things, and more besides, but very rarely is colour just neutral.

David Batchelor in Chromophobia, Reakiton Books 2000, "Apocalypstick" page 71.

The paintings are reductive in means, using horizontal or vertical stripes and divisions of color. I use 2 types of paint: a high-gloss oil enamel that is mostly self-leveling, and a super-matte vinyl paint called Flashe that dries to an extremely flat finish. The high-gloss vs. super-matte surfaces clash strongly when one is situated next to the other.

The colors I use are relatively limited: mostly variations of pink, black, orange, aqua, lime green, lemon yellow, versonese, and grey. The colors have no symbolic significance or intentional encoded meaning for me, but are chosen more for their opticality and radiant/absorptive qualities (the way they radiate or absorb light).

I have been told the paintings often resemble flags, though I have never intentionally painted any particular flag or sign. What drives the work for me is the desire to try and situate, in a “solidified way”, two or more colors together on a single surface. Though perhaps an ideal of perfection is suggested (and maybe even desired), there is no single “conclusion” to any given set of colors, and the paintings for me are always in question – is this the “final solution”? Any painting at any time is open for re-consideration, and the paintings are often re-painted and painted-over again and again.

Kasarian Dane, July 2007