StatementMy search relies on intuition as well as planned and conceptual processes. My grids and systems that I develop from current information and imagery from the canon of art history are distilled from observation of social orders and power structures. With these studied sources I form my work with chance; hiding and altering the work as it moves toward its being. While the style of my art is expressive, my paint is charted mechanically. Residual traced marks reveal a plotting that nods to the world of science, to trial, error, and inquiry. My work appears to be analytical, not revealing the expressionism that I feel. I employ manipulated wire grids to develop my paintings, they are stencils for my mark making. Along with the wire drawings I have built a series of shapes based on the design of camouflage. These camouflage shapes are created from overlapped lines that are an accumulation of tracings from the Canon of Western Painting. The shapes are interspersed with marks to create the levels, the sense of motion and the chaos in my paintings and prints. Color has an important voice in my painting. It communicates the tones and sounds that are filling the work. Acid, Brash colors record the screech and honk of contemporary life. Blacks and grays collect the anxious fear in the air. The speed of the 21st Century and the influence of the interaction of the many cultures of the world demand a voice in the work. Influences of the flood of information invade from every angle. The crowding marks and shapes investigate the uneasy sense of the shifting world as systems and beliefs shred and burst into new compilations. There are bits of the familiar but those are hints and allusions. I am not looking to create an order. I am recording a moment of being. For information or questions, please contact |
waste my beautiful mind, cotton and wax castings, 2003 |
