And welcome.
When asked to describe my work, I usually answer, “Abstract.” Unfortunately, I’ve found that answer is a great way to stop a conversation dead in its tracks. Something about abstraction seems to shut people down on a verbal level, which also explains why it is so hard to pin it down in writing (this statement not excepted).
Abstraction’s “dumbness” is probably why I’m drawn to pursue it; it is generous and capacious, able to absorb and then release a multitude of references. In my case, references as disparate as Chinese scholar’s stones, Japanese gardens, early American decorative traditions, or seventies design.
I intend to conjure a world or a space for imagination and reverie in my work that may manifest itself in miniature form or room sized wall drawing/painting installations. My work is driven by a fascination with the life of form, the nature of creation and the will to decorate. I feel reassured to borrow freely from our gloriously diverse visual culture because, as George Steiner reminds us, “there are no more beginnings”; we are playing with all the cards. The true creation, the art, lies in the transcendence of those parts into an animate whole.
Vertigo, 2007
reverse painted enamel on glass, 15.25 x 13.5in
