I am self-taught and this is at the core of my work.
I started out as a piano player. Then became a lawyer, followed by a time as a television director. Finally, I started to paint. I believe that all of these past incarnations – especially, my love for music – inform my work and effect how I approach being an artist.
Like my past careers/lives, my work is a contradiction. My development has always been in conflict – both an effervescent energy fighting an attempt at control. This is found in the tension between the grid which I score onto each of my panels and the chaos that my abstractive process creates.
My work always begins with photography. I travel extensively and take thousands of photographs. Often, it is the spaces where man meets the natural that captivate me. Photographs of natural forms, such as waves, contrasted with man-made structures, like bridges, inspire me back in the studio.
As I sift through my photos, I create matrices of images from which I work. The beauty of my grid system is that I can include multiple images, abstracting and superimposing them, in a single piece.
My work and I are often described as containing dualities: organic/linear, man-made/natural, order/chaos, structured/amorphous. I believe that these dualities represent me striving for calm and balance in my life. The confrontation resulting from my aggressive abstractive energy juxtaposed against structured form consistently results in my most successful work.
My work is often compared to J.M.W.Turner. I believe that this is because landscape and natureserved as potent points of departure for him as well. It is always satisfying when my work contains “turner-esque” skies and people happen to notice them. I am flattered by the reference when it is given.
My paintings are a mingling of my documentation of the real and my own physically exercised psychology. To support my visceral energy I paint on wood panels of laminate birch with solid ash sides. These strong, stable panels record my aggressive and subtractive manner of applying and removing paint. The physical and psychological come together in this process. Resulting in paintings that can be both percussive and soothing at once.