Looking back over some readings I found when I was first told about Jonathan Lasker:

Jonathan Lasker, written by Jonathan Lasker and Shirley Kaneda
http://www.jstor.org.ezproxy.aut.ac.nz/stable/40424009?seq+3&

1) This first article I found particularly helpful when thinking about composing my images and allowing each element, figure, color, ground, materials to take on different characteristics and say different things. In each individual work I can allow certain elements to dominate and together each material I work with in the image will bring it together to form a work I feel is complete.
A lot of the time it is hard to decide when a work is truly finished and whether it is successful or not. On page two of this article Lasker talks about an an intuitive feeling he uses to decide whether his works make the cut, or are finished. "It's pretty intuitive. Basically a painting's finished when it works as far as I'm concerned. It has to say something to me that I feel is effective. I'm trying to say certain things with the paintings and if the painting seems to communicate that thinking, then I feel it's been successful."
( I am interested in making sure that my work generates conversation about materials and the way they interact with each other. I also want them them to balance each other out visually when composed all together on my wall. I want to create lively conversation that has an essence of experimentation and playfulness, and I would like the overall composition to overwhelm the viewer with playful conversation between each work, and then for the viewer to inspect the works closer to see how I have exposed the characteristics of each material and their relationship to one another.)

2) Anther point that struck me was one page one, talking about different levels of drawing value. "The earlier paintings were less linear than the current. This show dealt with automatic drawing and subconscious imagery through using the format of scribble and different levels of drawing values"
(the value of conscious, planned, constructed imagery compared to unconscious, playful, experimental doodling/uncontrolled gestural marks with nylon and paint.)


 3) I am interested in the idea of being conscious of the unconscious....I am consciously choosing to generate images through my experimental/playful side. I am drawing on ideas, patterns, objects that I am familiar with in the everyday and constructing visual compositions that I intend to host a conversation about the interaction of materials including nylon, wool, and paint, on the supporting surface of PVA glue.
"I believe in the marks that I make. Yet, at the same time, I think I have a distanced relationship to myself as I am laying down makes. It's a case of the subconscious becoming conscious of itself."
When creating my works there is a constant shift between being conscious and unconscious. I like to be experimental and consciously respond to works I have previously made to ensure an interesting and playful dialogue develops between he odd of work that I am creating.