Longfellow School studio Great Cranberry Island, Maine.
Define place – explore the nature of space and time, seek out the source of light, react to change and the experience. For me, the process of painting is a form of expression that has the potential to generate a formidable intellectual, physical and emotional response to experience. Nature conjures extraordinary power – extreme energies…what we see…do not see…what we experience…nostalgia, its wonder, curiosities, inner structure, matrix, magic and mystery. All art no matter how literal or of the moment pop, seems to be abstract, relative to the context and the artist’s intention. Abstraction in art (life) can be ambiguous, random, and confusing, often perceived as a scam on the true “beauty” of nature. Non-representation, I feel, offers a synchronistic, internal and external links open to exploration without any preconceived image, idea or reaction.
My studio practice continues to evolve with the exploration of visual and conceptual abstraction and the expressive use of mixed media and altered digital images. Often aligned with new paintings, images of previous and recently created works are repurposed, becoming explorations of new tools and resources, resulting in a hybrid of elements, digital imagery painted into, latex enamel, acrylic, layered in compound color, texture and image integration on canvas – all while considering new applications for the work, whethter 2-D or 3-D…
After reviewing the motivations common to most of my painting efforts to date continues to be intent on an orchestration of elements seeking a synaesthetic outcome. Painting throughout history has provided me a lineage to link with a broad cultural matrix, while the process offers a reconnective power – like a haiku, a Baziotes painting, or a Bellini landscape; found and recurring inspiration from Tantric art, Taoism, Chinese landscape painting, and greats the likes of Kandinsky, O'Keeffe, George Morrison, Emil Bisstram, and the Transcendentalists and many many others - MD '17
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