STATEMENT OF WORK

My work work involves a language of reductive abstraction and an off-kilter kind of conceptual landscape; elements often occupy a  hovering kind of space, with multiple, implied ground planes. 

My work is rooted in drawing, and also often takes various experimental drawingforms—sculpture, painting, textile, mobile—in an effort to deconstruct a draw-erly language focused on space, through both convention and invention. Color schemes often tie together seemingly disparate components and series. An implied landscape includes atmospheric perspective blacks into grays, and hazy washes often station one at the foreground; beyond are areas of hovering forms, text or canvas collage elements across wide open space. As thought occupies space, an abstracted "landscape" can give form to some sense of that fleeting placeness.

My drawings, paintings and painted objects often act together in odd configurations which can include corner and floor pieces; a installation can become a strange tableau of small ceramic, abject grid-forms; irregular-shaped frames; text-based drawings and paintings  containing the distant, abstracted landscapes. Retaining a belief from Modernism and Conceptualism: my work stakes out a position—not only are they drawings and paintings, they also represent ideas about drawing and painting (indebted to a paraphrase of art critic, art historian, poet Barry Schwabsky’s words about contemporary drawing and painting).