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Drawing Statement
These drawing began from a previous series of drawings on topographical maps which involved a conceptual exploration of the system approach or process vs romantic modernism.
Hybrid vegetable, animal and geologic formations gradually fused together in the current work in which the organic structure in the foreground hovers over an indeterminate gaseous background.
A sense of something coming alive but simultaneously of nature in decay is what I'm after. The seemingly expressionist marks actually define tangible and mysterious forms that may evoke things seen at glance, but not believed , on a journey to the deep woods or undersea.
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Painting Statement
My work refers to Lyrical abstraction and but moves beyond it. European Lyrical Abstraction evolved from Modernist painting in Paris as a competitive movement against American Abstract Expressionism and geometric abstraction. " Larry Aldrich of the Aldrich Museum organized a traveling Lyrical Abstraction show between 1969-1971 which finished at the Whitney Museum . My work involves intuitive and loose paint handling that has an overall gestalt based on organic natural forms via spontaneous expression, acrylic staining, thick surfaces, poured and splashed paint, and digital source photos . My work superficially resembles the spontaneous gestures of Abstract Expressionism but without the dramatic brushstrokes, and actually refers more to their European counterpart, the neo-expressionists or "Neue Wilde". Their fauvist color paintings have an "overall" quality to their composition that references color field painters. This overall-quality is also in my work but I leave behind the nostalgia of western European painting by accessing the so called “source" visited by shamans, mystics and yogis. Through meditation, dreams and martial systems I look more closely at the natural world on a micro and macro level. This way I discover hidden energy patterns and unusual color combinations forming an abstract aerial view.
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