For seven years I completed a painting every weekday. Now I do daily drawings. My current paintings and neon works have origins in this process, whereby I finish a new image every day. I keep this schedule because over many, many jobs I have built up a healthy respect for the benefits of a full day’s labor. I also do this out of a a desire to push myself and see what comes next. And for anthropological purposes, I have an interest in maintaining a record of my intellectual and artistic development.
It’s my opinion that honesty plays an important role in choosing the images I make. I pursue the "honest" by paying attention to things that I’m genuinely interested in as a human being. To me this means listening to my biological and intellectual needs before minding those which would have me seek that which is socially acceptable, intelligent, moral or popular. From any given series of ideas to draw or paint, I’ll choose those that have a certain "electricity" to them, that is subjects that hold my attention and get me excited or engaged. In order to maintain vitality my process has to retain a flexibility. I don’t hold myself to any one line of thought, a style, or subject matter. At the same time, I accept that I am a slow learner and there are certain themes I return to with frequency: wilderness landscapes, sex, and violence have proven to be limitless in their value to me. These particular subjects interest me for a combination of reasons, ranging from their presence in the things that were imprinted on my psyche during my rural childhood and their position in collective social and cultural anxieties.
- excerpt from EVERYTHING STARTS AS SOMETHING YOU DON’T UNDERSTAND by Dan Attoe
216 pgs, 22 × 22 cm, Softcover, 2010, 978-0-9817658-6-0