"...a good poem leaves one feeling more human". - anon. / overheard
“In Art emotions are the meaning” -Henry James
--- So with a good painting. Here are a few idea-driven, idea-layered paintings (w/ jokes and tears), in oil & mixed media, followed by sculpture in selected found materials, presenting landscape-Inscape & architecture-inflected images and objects in a broad, graphic, textured palette, in a full range of colors and dimensions -- reflecting a personal view of a hopeful -though scarcely justifiable image-language sensitivity. This presumptive notion enables my rethinking of personal & cultural challenges: I'd call them art-enabled-reassessments of chaos, spontaneity, and the possibility of inward order.
My WorkLife is painting as a connective, evocative enterprise offering a personal shape-language world, with advanced and primitive forces from various perception levels that meet each other in diplomacy & battle. Painting: a conversation between thought and feeling, a means of self creation & reckoning -- personal, ruminative, & invitational. Noticing my own shifting alertness brings about world-reckoning intimacy and reflection moment to moment. I stop-frame life circumstances to reflect upon them in a sketch. At once, a painter is the scene, the subject, the story, the shy reader, the innocent listener -hearing with eyes ("seeing") or deludedly conjuring new 'evidence' of a possible vast, private, and deeper Life.
How does a painting emerge? : it unfolds for the maker and viewer alike. Mental dithering fades, visual conversation gains credence, logical debate aggregates, arguments are fleshed-out, nuanced affinities are recognized ...and then are personally elected / acted on in paint. Previous thresholds of aesthetic insight & emotional courage are overturned, alienation is temporarily quelled. Insights and ideas take the form of marks, shapes, colors and arrangements, made to seem inevitable Language and music, healing & self-unity (however inexplicable) are the origins of my effort. The endpoint of this work --where my accidental choices and mistakes have come see seem fateful to me, is to show you the world in me, as a contribution to the shared world we live in.
From an immersive (a sometimes 'research-oriented') studio practice, a personal iconography has emerged: thought figurations in two and three dimensions that convey a personal aesthetic of attention & intention. Pulling together compelling elements of a complex structural presence, the GEO-figuration that undergirds these compositions — concerns what? I say … open strength and endurance. By way of foxy color, decisive internal density, scale & proportion, these images illuminate a wayward yet determined ArtLife engagement. Well beyond the unavoidable doubt & ambiguity that lends a bristling frisson to the graphic & spatial field of each painting, this art is about a collaborative meaning-creation relationship with a committed viewer -- a non-churchy call & response relationship. At Best -- find here (when taken together) an urgent, personal domain of optimism and contribution: a personal ImageWorld -layered & conjoined. It invites extended looking -outward & inward in the very same moment of discernment — and fragile, if exhilarating, self understanding.