Artist’s Statement: The Bermuda Triangle “Stills." The Bermuda Triangle, otherwise also known as a false narrative that became a fictitious story, lends its title to this series. A no-man’s land in the ocean in between the three points of Florida, Puerto Rico, and Bermuda, legend has it that this swatch of an area consumes traversing crafts of all sort. This series transitions in between three points: hints of figurative work, scenery painting, and motions of inner mental movement rear up in a modern break of usages of traditional art materials. These are a series of swatches, as stills from no-man’s land, that highlight the transitioning tension of the ever shifting parameters relating to the definition of backgrounds and foregrounds. The technique deals with elements shared in mural painting and intaglio processes, from solvents and inks, to systems of addressing proportion of the human figure with the visual platform. A set increment of measure is always used repeatedly the same way to address each different sized piece in the concurrent manner. From the measure of aerosol cans to piece, nib of alcohol marker, size of watercolor brush, capsule of solvents, and size of custom squirters, all surfaces are scaled with the same measure in materials. Certain brightness of fleeting colors showcase rare methods used to derive the exclusive processes of these samples of mark making. Upon deep examination, all pieces are started and layered by linear motions in mark making. Additions and deletions add laminas to what is always the start of linear mark making. Explosions and implosions are possible due to the decrepitude provided by solvents. Fortitudes of intensity spring from the vacancies offered by negative spaces of solvents, and eventual repetition is metered in the cross-hairs of the vacancies plus their additions. Some almost neon effects are created as a new ode to water color painting, but not in the manner of craft art, still adhering to historical references of brushwork. The usage of materials usually reserved for outdoor mural work is born forth by an observation of the many indoor techniques reserved for preliminary drawings from sketchbooks, for the later sequential outdoor work. The notion that “this is a background!” in these swatches, transforms the fact that a color swatch is an identity onto itself. An identity that can question the notions of traditional esthetics in this genre and materials.