In my current practice, I am exploring the place where ideas and thoughts are formed. The creative process is truly precognitive. All notions and ideas are irrelevent once the flow begins. The unformed becomes the formed. My work examines the tension between movement and structure, between freedom and control, in an abstract composition. I am interested in pure painting. I create visual rhythms, so that the eye will be guided through the composition just as the ear hears harmonies and discord in a composition.
I often work in a series, and stay with a visual concept until I've worked out all the nuances. In my Midnight Series, for example, shapes and forms flow, black space and light areas create balance and contrast, until the painting seems to find a perfect moment of organization, when all the elements come together and become accessible.
At the beginning of a piece, I work in an improvisational way, staying open to possibilities, layering and building textures and background, without a definite plan. I often use linoleum block patterns as stamps. This technique gives me a large vocabulary of shapes and designs that can be altered in intricate, playful and subtle ways. The stamps not only allow me to break up space, but they are also stimulating and unpredictable.
My latest works are built from scratch, using materials and tools from my work in the building trades. I use lumber, bondo, and spackle as a base, instead of canvas. I use saws, planes, and hammers to create rough textures and lines; I even use paint stripper to create areas of open space. In these works I am again exploring three dimensional in an abstract composition, but doing so in a way that emphasizes the physical properties of the work, rather than any conceptual framework.
These materials and tools not only bring their own history into my art, but also supply a vocabulary from my daily livelihood. The scrapes, cuts, and patches, the lines and textures of this new work, serve as personal signifiers. They evoke a sense of beauty and expansiveness, emotions central to my process, while keeping the work grounded in the everyday. In this way I free myself to move foward. Instead of looking to the past for inspiration, I move foward by incorporating the dynamic present-all the elements of my daily life as a painter.
My own intention as an artist is to open and widen the viewer's gaze, to take them to a certain point and let them finish the journey. My hope is that the viewer will discover a new sense of wonder through my work.