“Three dimensions are real space. That gets rid of the problem of illusionism and of literal space, space in and around marks and colors – which is riddance of one of the salient and most objectionable relics of European art. The several limits of painting are no longer present. A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface. Obviously, anything in three dimensions can be any shape, regular or irregular, and can have any relation to the wall, floor, ceiling, room, rooms or exterior or none at all. Any material can be used, as is or painted.”1
A central point of investigation of There may be oil is a fascination with Minimalism – simplicity in its purest way and reduction to the fullest. It is the use of raw, unadorned material that exposes the viewer to plain reduction. This triggers numerous associations, focusing on their internal self, emotional life, and mind, thus resulting in the work of art functioning as a surface of projection.