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amherst, MA US
May. 05, 2012
May. 05, 2012 Time: 12:47 PM
Being an abstract painter allows freedom of expression without direct reference to object, though my paintings are inspired by nature. One can feel sky, mountains, wind though not directly see them. The paintings are like windows that peer deeply into space beyond the four edges. Breathing life onto the canvas enables the paintings depth. My color combinations reflect the seasons. I explore ideas just as an improvisational musician finds his "lines." I want to see what happens through the "chance encounters" I have with paint, in the moment. Free like this, invention surges up and I paint out of curiosity: a problem area in the painting becomes a foreign country in which to travel. I enjoy the struggle and the search, reaching for the inaccessible, referential to landscape that is not overtly stated, but implied. A familiar shape worked out in the last painting gets obliterated in the new one, for it cannot have a name that has already been spoken. My painting process is always unsettling, completely passionate, radical, and driven, but it is the paint itself that guides me to a place of wonder. Each of my paintings represents a crystallized chunk of formal experience, as well as being very personal at the same time. My paintings are earthy, rock-like and weighty, and yet they have in them the rhythm of the sea. I am a nature painter; the nature "out there" coupled with my own internal landscape. My "inner" finds the equivalent "out there."
What's in it for me?:
While I would like to go to Paris and spend time in museums and also set my easel up in the countryside in Normandy, I would settle for my paintings having a wider audience, through Mutt as well as exhibitions. 'If' my paintings sell, enormous pressure would dissipate for what I consider to be well needed time and space for painting-concentration. The surfaces of my paintings resemble ancient walls, in that there is a sense of history alive in them, through the repetition of the "placement and replacement" of paint many times over. (I try to convince my students that they cant expect to get it right the first hundred times, that it is necessary to go through the search process). I feel like I am at a construction site breathing life onto the canvas through a simultaneous building up and a tearing down of color. I love to see open, breathing, moving space create entry way inside the picture plane of the flat surface of linen. It is the act of breathing life onto the canvas that enables the paintings surface to be like windows or mirrors into which to look. It is the architectural construction of a painting that moves me. A painting gets born when it has a specific presence that comes alive in it, that seems, for me, to come together only at the very end through the last accoutrements that come along so naturally and pleasurably, and fine-tune all that is already compositionally holding together, rhythmically tied. How colors relate be everything. My paintings 'sing' through the light that emanates from the color combinations themselves. I explore ideas just as an improvisational musician finds his "lines." The dialog between ideas lives in me like a fascinating story I'm telling. The painting has to have a life of it's own unlike any previous paintings life. I want to see what happens through the "chance encounters" I have with paint, in the moment. My painting process is always unsettling, completely passionate, radical, and driven, but it is the paint itself that guides me to a place of wonder. The painting has to be better than the idea, which was the paintings original intent.
What's in it for you?:
I like to believe that one of my paintings could stop a war. My paintings lift spirits. Hang them on your walls and they become like windows overlooking landscapes representing a particular light of a particular day of a particular season and geographical location.
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