Painting myself literally exacerbates the contradictions between art as a private performance and
art as a public projection of self as other. Like Pollock, I step into the painting, but at this point, get
rid of the canvas. The central motive is to explore performative aspects of painting -- to reflect on
what it feels like to trace a moment, to inhabit our skins, and leave a signature mark.

By locating the "inner self" directly on the surface of my body, I challenge some basic tenets of
expressionism and how the self is constructed through art. The goal is still to search out what lies
within, but here, the strategy is to reclaim cultural traditions, especially in painting, by inscribing
them literally on my own body. Then, as I move, live, and breathe, the surfaces crack and reveal
something new, with no edges save for the camera's point of view.

Until 1980, my medium was super 8mm film, and my current work reflects a cinematic approach
to painting. From 1979-81, I made was a documentary called Hanafuda/Jasper Johns (33 minutes,
super 8mm, color, sound), observing the artist making silkscreen prints. This film has shown in
museums around the world. From 1981-1995, I focused exclusively on painting, and in 1995,
I began combining painting and photography. Lately, I have also returned to film. In 2001-02, I
made Skinside Out (10 minutes, 16mm, color, sound) in collaboration with Bill Brand.