Biography
The intent of these works is to explore concepts, the creation of new forms and to question ideas pertaining to the concrete world in a somewhat non-representational way through the visual language of color and form. Both concept and process dependent, they must be evaluated not only through our visual senses but which may possibly apply to real world situations and events. Being somewhat ambiguous by intention, these complex structural works are meant to question, diversity, identity, the relationship between significant parings and their attraction and discordance rather than perceived correctness. Ever present is the notion that suggests, that when diversity is applied as a union, a richer, broader and at times unforeseen outcome may be possible more often than that of singularity.
These works could possibly be thought to be both figurative and non-representational blurring the lines between sculpture, painting, architecture and installation. Although the examples shown have been installed in a specific way, the works have no specific formulas for installation therefore perceptions can and will change depending on what the installation’s site-specific parameters are.
My current dimensional paintings, which in part were initiated in the late 1980’s and early 1990’s, have major influences stemming from the Post War New York School, the Castelli Warehouse Shows of the 1960’s and 1970’s, Ellsworth Kelly, Kenneth Nolan, Charles Hinman, the works of Martin Puryear and others. I have taken their legacy and created a more organic, biomorphic and at times anthropomorphic approach to three-dimensional stretched canvas work that are conceptually unique and have been recently reviewed and referred to as “New Technical Minimalism”.
All works submitted are self-fabricated. The armatures are made from a combination of mahogany, mahogany plywood, birch, virola and bending plywood. As the works became more involved, a switch from oil on stretched canvas to acrylic on canvas was evident to insure maximum flexibility, especially on the larger works. Having additional requests for permanence and entertaining the feasibility for exterior display I began treating the raw canvas with marine epoxy and top coating the acrylic with either an automotive, marine or aviation grade clear coat.
My working process is initiated through what may be considered a type of meditation performed by clearing the mind of ones pre-conceived notions of form and alliances. By creating planes, forms and color palettes in a near thoughtless, visceral, random way, somewhat like explained in John Cage’s Chance Operations, I begin creating from a first chaotic notion and formalizing form and color for fabrication only to insure invention.
