STATEMENT OF WORK

My practice involves the creation of subtle order through the use of strong patterns, grids and geometries. I create a unique visual language through an ongoing process of exploration and experimentation. The work is built on an evolving set of interrelations, rather than just a system of theme and variations. The latest series of works is a return to earlier compositions and themes, rather than moving away from the immediately preceding body of work and is an integration of the processes acquired during those investigations. 

This series - “Pentimenti”, is so named as it began by the act of painting over existing canvases where the circular geometry was a part of the older works. Pentimenti, by definition means, “a visible trace of an earlier painting beneath a layer or layers of paint on a canvas.” In essence these paintings are picking up from an earlier series, but with a renewed interest in surface and scale and that includes a fuller color palette. Previous works were much more reductive and the use of color was intentionally restricted. There still exists a hint of the grid in the intersection of the circles on the canvas plane when the circles are cropped off.

The launch into the “Pentimenti” series began right after a trip to Greece. At night, there’s little ambient light (or light pollution), so that it is clear enough to see a plethora of constellations and planets. The sky becomes an amazingly wide canvas. Connection to the elements has a new primacy for me, and a simplicity that subconsciously became part of the new visual language in this body of work.

Although some of the titles reference astronomy, in fact it is the works inspire their own titling. Earlier series of works had titles such as “True Lunar Time” and “Celestial Excursions” for example.  These titles represented time and the physical space of the works.

Sculpture has recently come into my vocabulary as a means to activate these forms into a three dimensional space.  The tension of the physical spheres occupying the space with tension of gravity adding an element to the work.  When viewed from various angles the spheres can looked stacked or curving into space.  It is a simultaneous execution of the visual imagery into the two media and creating a dialogue between works.

Continuing to move into this body of work, there are other references that become inspiration. For example, stacking, as in totem poles, the dolls or “poupées” of Hans Bellmar’s photographs, as well as archaeology, which has revealed churches built on temples and mosques on churches.  Within my painting process, there exists a conversation between these ideas and the abstract works that I create.