Statements

Paintings that live in the world

I have always been drawn towards creative approaches that generate a friction between actions performed as an artist and the visual frameworks that create the artwork. Between these concerns it is critical for the artworks I produce to be able to stand alone without an exhaustive document or map telling the viewer what it is that they are seeing or how they should see it.

In the winter of 2014, I gave myself “a snow day”. I took a break from my then current work, which was very structured, and allowed myself a chance to explore anything that popped into my head. Over the course of a week, I developed an avalanche of work that was received far beyond my modest expectations. In what I initially started as a way to expand how I had been building images, I found a new body of work that has energized my studio. My focus on approaching this work is with openness, eagerness, and a lack of preconception of the final outcome. I have found new ways of working and discovered qualities about my work that were unknown to me.

In this latest work I have become far more sensitive to the idea of balance. Visual concerns such as color and process, mark making and field, scale and relationship, planning and improvisation, allow me to develop artworks that interest me intellectually as well as visually. The resulting body of work consists of markers that observe, comment and gauge the decisions made.

— January 2016

On Names.

Titles have become critical to my work. Primarily they re-establish a connection to the visible world and hopefully trigger a series of associations and ideas that are related between the artwork and the connotation in the viewers awareness. I avoid the descriptive and ordered approach (blue, or number 12, etc.) as well as using "untitled". I view titles as an approach to open the viewer to a thought process that may influence the subject at hand. This could be viewed as a shorthanded poetry or similar device that allows further thought in connection to the viewers experience of the artworks. 

– January 2009


Previous Writings


The New Paintings

I’m primarily interested at the intersection of certain elements of an artwork. None of them take center stage, nor do they hide in corners. The artwork becomes a balance of color and process, mark making and field, scale and relationship, planning and improvisation. 

This balance of ideas and elements informs the process of my work. The process itself is a living thing that changes from artwork to artwork. The process and approach is questioned, documented, challenged and changed during the actions that make the artworks. The resulting body of work consists of markers that observe, comment and gauge the decisions made. 

– September 2015


An Atlas Adventure

I’ve been thinking about place and process and where a friction might start between the two. I realized that this idea was akin to developing a system or a “catalog of effects.” I thought of that catalog as an “Atlas.”

When I think of the term “Atlas,” mapping is the clear standard; however, I also think of timelines and choices. Traditionally we know an atlas to be a book or portfolio of maps. In the modern era, atlases have become a source for detailed information about a particular subject or place – this expansion of information is what has interested me.

That overlap, mapping and information, place and process, is the germane kernel for the title “Atlas.” I view this as the result of a process that is questioned, documented, changed and eventually a realization that the entire process is never finished. What is leftover are markers to observe and gauge the decision points of the process along the way.
– October 2013

On Developing New Images.

The artworks come from a series of divergent strategies. One of building and extending - the other of reducing and minimizing. These disparate approaches are not a way to impose meanings on the work, but can be viewed as a metaphoric crossroads. This crossroads is about extending the relationship of these different approaches, while at the same time allowing the viewer the liberty of time for further reading of the work. The image making that comes from this strategic foundation will be clear, concise and rational, while at the same time allowing for a sense of community and/or contemplation to develop in and around the artworks.

The artworks are not linear narratives, this allows the element of time to be stretched or compressed to accommodate the viewer. This flexibility to time as well as environment allows the artwork to reveal itself in slower and calmer ways than an artwork that is based only on the relationship of drama and detail of the forms presented inside of it, while allowing those with a more compressed timeline to react to the base elements of the composition and painterliness of the overall approach.

This open ended approach is central to the artworks I create and allows them to be developed with a non-specific exactness.
– February 2009