For many years now, I have been guided by the notion that a work of art should convey a sense of time, place and human presence. More recently, I have been intrigued by the important role that memory can play in the creation of art. Memory is both personal and collective, a sacred space held deep within our souls. Though it is veiled by time, it is a place that can be visited for insight and inspiration.
Much of my artwork is, in a sense, abstracted from both the urban and rural environmentmemories of form and color gleaned from walls, windows, machines, doors, shadows and streets, among other things. I am particularly intrigued by forms which, though once "perfect" in their man-made precision, have subsequently "fallen" into disrepair through age and neglect--"fallen" from the modern or postmodern into the primitive, carrying the wisdom of a long forgotten tale.
My paintings engage relationships of color, shape, composition and space to convey a variety of emotional complexes. They are very much process paintings, created through the buildup of many relatively thin applications of paint in which I develop, modify, and often wipeout successive layers of imagery. The layering of paint is like the layering of timemoments passing into days, then weeks, months and yearsthe immediacy of the present perpetually slipping into the past. As well, my painting process alludes to cycles of building and destruction inherent both in the unfolding of the human drama and in the workings of nature. The paintings at times contain the whispers of footsteps and fingerprints, enveloping fields and eroding structures, barriers and bridges, scarred walls,, resilient and transitional forms, emergence, growth, and decline.
In all of my art, I am interested in creating images that engage the lyrical and metaphorical aspects of poetry as well as the abstract rhythms found in music. I seek to create art that is deceptively simpleseemingly capable of being grasped in an instant, though, in truth, revealing its content only through the prolonged contemplation of a viewer. The work is essentially a process of discovery--an internal search for a plastic image expressive of a completely pre-verbal awareness.