I know your work for a long time, and I always thought your watercolor technique was the best I have ever seen. So I feel really enthusiastic seeing you working with other techniques such as dropping and action painting, and knowing that you're being influenced by artistic movements I appreciate. You are an artist that has been inspiring me, I like to draw people and faces as well, so I hope someday I get the vision you have. The technique you are working with also brings up gravity, luck and the ink's free will to the piece and even so your accuracy is awesome.
Let me start by saying that you are one of my favorite living artists. I've found your watercolors the very paragon of contemporary Expressionism. I frequently share your YouTube videos with my students to educate and inspire them.
Drip painting has been a recognizable part of your artistic vision for some time; this is not you experimenting with technique or form—those things have long since been mastered.
I prefer the energy of the beginning of "because". You made some profoundly emotional pieces in this style back in 2011. But it is good to mix it up, nonetheless. Perhaps this is an experiment, after all, the use of high-energy curvilinear elements in a constrained and quiescent composition. I wounder if it is this balance you are calling into question?
I do not care for the manicured black planes of his shirt. While you have used similar black masses to great effect in the past—waiting place, for example—the same treatment feels out of sorts in this piece.. The rough brush work I typically associate with your work may have been more appropriate, but perhaps you sought to avoid the smudging and smearing this time around. I think a similarly heavy, serpentine volume could have been dripped on and yielded something more organic, unified and consistent with the evocative vision you've demonstrated so successfully over the years. The figure would project better but for that anchoring black edge running along the bottom of the painting.
That said, the mystery I see at the top of the painting makes a nice counterbalance to the concrete finality I see at the bottom; or, if you prefer a more conflictual analysis, the enigmatic vs. the absolute. There is also a movement, a downward pulling you've successfully conveyed.
I must say that your monochromatic work has always been equal to your more colorful endeavors. Indeed, you speak with many voices, all of them sublime. I look forward to seeing where this line of study takes you.