Joshua Dildine's paintings and drawings attempt to create a visual analog for the way individuals in a Google-driven society process (or fail to process) the vast amounts of information immediately available to them. Dildine transforms these severely disjointed experiences into atmospheric abstractions, layering his canvases with a limited lexicon of painterly gestures, reminiscent of both Joan Mitchell and early Cy Twombly. Every painting in Dildine's oevure, even though it is rooted in several traditions of abstraction, creates a complete world unto itself. There is a sense of completeness, of formal unity that allows each painting autonomy, not only inter but intra-textually. Color relationships are established in one painting only to be violated in the next. Stability created by the x's of one painting gives way to the bold, curvilinear lines of another. Each painting seems to be constantly moving, not in the sense of an Op Art, but simply in the action Dildine creates through his aggressive, dynamic application of paint. Just as we are compelled to make sense of the increasingly increasing amount of information flooding into our everyday life, so do we begin to “make sense” of Dildine’s complex canvases: the longer one engages a work, the more figurative, representational elements seem to appear. The artist plays upon this ambiguity by extracting tag lines from published media for use as titles, conjuring associations and representational forms otherwise unrelated to the work at hand.