The excoriation of the self through rigid formalistic procedural resistance to completion.

The process is the result of choices made after the accident is committed and accidents during choosing.

A commitment to accident by affirming its presence. Codifying accident. 

The epistemological representation of entropy divided into it’s self.

A wrestling match where the “will of the accident’s presence” fights for prominence with my will for compositional integrity.

Part One: Drawing from the Figure

Part Two: Codifying Misshapes

Part Three: Sequence

"Inspired by Lon Chaney Jr., Darcy Dahl experienced his first commercial success in the realm of visual art by trading drawings of the wolf-man to a fellow elementary school student for G.I. Joe figurines. Television was an early influence. It's influence continues today. CSPAN providing a barrage of posable figurines. Beginning in 1998 he began layering images on top of one another in an attempt to capture the violent capricious choreography in boxing. This resulted in layering many marks on top of one another - the technique extended into his formal study of the human figure , eventually extending into color studies, painting and video. Darcy met Jack Swanson during his first year of his preparation for the Seminary at Golden Valley Lutheran College. With Swanson he wrestled with shedding his appropriation of modern masters - Duchamp, deKooning, Cage, the futurists. He also met and befriended Herbert Loddigs, who's theology freed him from a obligation to pursue an anemic faith for the one that sustained - grace (nearest analogous atheist concept: altruistic play) is a concept that drives all his work. The rest of college was spent skipping classes in order to attend every available figure drawing lab. Work with David Feinberg afflicted him with the imperative of color's affect. Passionate since high-school about psychology and mental health issues, he has spent the last two years reconciling neurolinguistic programing, Rogerian therapy and the act of making and viewing art as a kind of "client-centered" approach to the detritus of the painted surface."