Throughout my career, I have always tried to produce works that are surprising, original and playful which rely on invention rather than appropriation.  From beginning to end, my process of drawing, building, stretching fabric and painting never ceases to inspire me. Exploring varied concepts through the creation of new forms, these works may question themes regarding diversity, visual kinetics, identity, object parings or ideas pertaining to the concrete world.

I began producing multi piece stretched canvas works as early as 1992. These early works were experiments in a type of minimalist painting that I referred to as Dimensional Paintings.  Initially searching for different ways to create object based wall installations using oil on canvas, these diptychs and triptychs offered variable dimensions, lighting considerations and a technique to express painting as objects with organic, kinetic and somewhat character-like characteristics.

Shaped canvas works have been present since the 1960’s with examples from the Postwar New York School, Charles Hinman, Ellsworth Kelly, Frank Stella, Agostino Bonalum who worked in Italy and many others. My first body of work was titled Vertebrate Companions Series and has 43 unique examples to date. Over the years it became evident that many other concept related ideas were possible. These works also responded to forward architectural practices such as the works of Zaha Hadid.  What I keep reaching for is to create works that are not necessarily conclusive but provoke open-ended conversations concerning future perceptions of form, beauty and communication.

While the birth of minimalism, conceptualism and installation was a basic starting point, these works are different. I have stepped away from the formalized conceptualism of that time and taken the above-mentioned disciplines to created a more biomorphic and at times anthropomorphic approach that communicates various conceptual idealisms. These concept dependent works have become more than just studies in color and form which cross the line between painting, sculpture, installation and architecture.

To insure invention I rely on the unconscious mind and a form of Cage’s Chance Operations, which has much to offer. This practice is not reliant on our learned awareness nor what we believe to be correct through history. That said, does correctness even exist? Is history help or a hindrance? To begin production, after a concept has been decided, I perform a type of quiet meditation that clears my mind of my preconceived notions of geometry. I then create viscerally from a first notion in search of unrealized forms or uncomfortable parings that could possibly imitate life in its irregularity. I refer to this process as Unconscious Geometry.

I have also been awarded public art commissions that are considerably larger in scale. These public works were created from smaller stretched canvas maquettes then reproduced using laminated fiberglass with stainless steel armatures or cast from lost plaster or silicone molds. They are then painted with high UV resistant bi-component polyurethane paints and clear-coats to endure even the harshest weather conditions. When producing public commissions one must also embrace the environment or the surrounding architecture which adds additional considerations.

Being a visual artist, my works draw attention through unusual form, placement and specific line and color considerations. I generally work in a chronologically numbered series recognizing that linear research seems to bear more discoveries while telling the evolutionary story.








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