My paintings begin with me looking out my studio window into my back yard. The play of light on and through the trees, hitting the grass and fence create a world of light and shadow and color that become the building blocks of my work. I maintain this viewing process all through the year. The bleak cold whitish light of winter, the warm virdent bloom of spring, the wild contrasting light of summer, and the soft light of late summer and fall create an arena for the disparate elements to comingle and gestate.
The material, both physical and metaphorical, gets pushed around on the canvas to make a situation that has its own sense of order and logic. The structures that develop correspond to but do not imitate the external world. New classical music, The Washington Color School, Finnegan’s Wake, and our unusual political machinations wind their way into the work. As the components of the painting reveal themselves, they coalesce into forms that act as carriers “of meaning”.
These ciphers perform a variety of functions that act as catalysts for the viewer’s experience. The viewer hopefully sees the painting as a series of subtle waves that build into a manifold experience that becomes more rich with repeated viewing. The encoded material slips out of the paintings and into the viewers subconscious. After hanging around in the back of the viewers mind, the stuff pops back out as ethereal bread crumbs for the conscious mind to nibble on.