"...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.  

Large claim; though, in the end I have only my own chosen views to offer, I say art exists to reveal something deeper: the WORLD-MAKING IMAGINATION by which we flourish, or without it surely perish.

In my WorkLife painting is 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 meas 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.