Lester Monzon makes pictures that refer to architecture, how architecture sits in space and art history. Sometimes he paints in a messy way and sometimes he paints very precisely. In Monzon’s world, both of these actions refer to traditions of abstract expression and hard-edge abstraction. With this, Monzon offers an artist’s inside joke: my paintings, in capsule, offer a system of classification for art history. He doesn’t want you to worry about what issues* arise in the art world because you can accept his quick and concise summation of art history in place of others’ uninteresting and bland solutions**.
(Skipping ahead to technique without transition) Monzon uses a lot of paint. If this paint were a person, he is a sly personality that can impersonate dots or stripes (that Monzon associates with the artist Hirst (dots) and the artist Noland (stripes)). By impersonating dots and stripes, Monzon (or this sly person who is paint) miraculously brings dots and stripes back to life because they had been dead*. You should realize that this is satire.
These days, Monzon is taking his version of funny to the streets - literally. He is painting on dirty sidewalks, on the tile in public restrooms or in some place that is called “street art” that has been made popular.
** Monzon graciously removes the viewer from a “vapid” solution to a “pithy” one
In summary, I think Mr. Monzon might engage someone to write more precisely about how and why his painting and his work merits discussion and appreciation. This statement does no service to him, his work or to the viewer. The work can be satirical and difficult to understand. The statement should not. It should additionally be an explanation and give, if not a roadmap, at least a cardinal direction toward better knowing the work and the artist.