2003 Acrylic and sand 2.7'x4.5'x2."
2005 Acrylic and sand 15"x20"x2."
2003 Acrylic and sand 3'x5'x2."
and sand 25"x36"x2."
2005 Acrylic and sand 36"x61.5"x2."
and sand 29.5"x44"x2."
Through successive paint layers, I suggest tangible concepts with
abstract formations. The malleability of abstraction inspires me.
These painted shapes or atmospheric “environments” incorporate more
than the association of the title. Why is this shape in this
particular location of the canvas? How does it affect the viewer
individually? Does this creation evoke more than one idea or
representational image? It is ultimately the unknown which influences
my art. Unfamiliar realms of life and of the subconscious drive my
desire to paint. This is enhanced by an element of surprise regarding
exactly how the paint will dry.
paintings probe organic forms and atmospheric environments in the
universe, on earth, and sometimes internally. Thematically my art
investigates the cycles and boundaries of rebirth, destruction,
and age (longevity). They are evolving, natural cycles. The cycles
are a part of our planet, the solar system, and perhaps our
universe. The illusive “universe” seems for some to be infinite,
“open,” and/or expanding. For others this system is closed. Will
the universe continue expanding until it reaches a mass density or
a gravitational limit? Will it then shrink and expand once more?
Will strings and branes be proven to act as fundamental building
blocks of matter and constitute an all-embracing theory concerning
space on a macrocosmic level? What exactly is “dark matter?”
It is the challenge of the unknown which inspires my paintings.
There are limitless possibilities within the parameters of the
stretched canvas. I leave the idea of adding another dimension to
painting, open to the inclusion of installation. Similar to the
integrity of scientific research, my concept of installation
should complement the paintings on the walls as well as the
existing architectural space. Is the building a vast, transformed
factory evoking the process of creation and the studio? Would
time-based media be appropriate (or affordable)? Could a 3D piece
also be included? Is there overall unity? Does the show
incorporate cohesive components conceptually and thematically?
Extending the perspective beyond 2D further parallels the idea of
dimensions beyond our 3D existence or an expanding universe with
consideration to relativity and spacetime.
I am mapping my journeys through these natural cycles with
successive layers of paint and other media. In a cartographic
manner, the concept transfers to physical form on the canvas. Maps
are continually being reconstructed according to geologic time and
recent history. Comparable to altered borders or new names of
locations, the layers of paint often hide what is beneath the
Relatively “permanence” of acrylic paint is well noted. As with
any paint medium, certain colors have specific bonding
characteristics within particular temperature ranges.
Paintings are not supposed to last forever. The sand on several of
my works reinforces the mechanics of change. Yet, my paintings are
double coated with a durable, protective finish. Whether dramatic
or static, energizing or pacific, these works display a definite
and unique, yet “relative” period of spacetime. Overall, when and
/or where this time evoke(s) is a question for the viewer.