The Work: Paintings
Throughout my career I have painted in series in order to explore how color, shape, material and paint itself develop and change one’s experience of each work, while consistently exploring a history of shapes.
I have been working on several bodies of work since the Spring of 2000 when I first extracted and isolated specific organic shapes from the layers of abstraction I had been painting. In the Bloom paintings ("Undulating Blues", “Indomitably Fragrant”, “Fiction”) I developed an iconography and found that these shapes became animated though the process of drawing and then later on canvas with color.
The series Layered Abstractions, (“Big Orange Sky", “Cut Bloom") and Cut-ups ("I, II, etc) , comes from a recent decision to cut up the drawings and templates that I had previously used in the preparation of a painting – this has become a free-form way of creating new imagery, reconfiguring the original concept to give it new meaning and has become the actual material in which I make the work.
The development of the Aerial Landscapes came from the conditioning of looking closely at what the Bloom shapes made when cut up or focused in upon. In the making of the first painting I immediately saw a similarity with the way a topographical map is drawn, dark blue indicating the depth of water, yellow topsoil, etc. and let that influence the direction of this series. The works continue many years later on canvas and currently with paper in the Boundary series, to inform each other in their separate evolutions.
The Work: Cut Paper or Installations
This series includes framed and unframed wall installations composed entirely of cut paper. Starting with hand-painted paper I cut out shapes, leaving them whole or retaining a simple boundary, before assembling them into painting-like compositions, the end result being highly colorful and vibrant abstractions, reminiscent of lace or crochet-work but without any recognizable or repeating patterns. In these I am experimenting with depth, superposition and inviting the viewer to examine the subtle boundary between flat work and the third dimension.
An interesting part to this new series is the act of installation, or the process of installing the piece in a new spot. I first debuted “Flecks” and “Elements”, in a solo show called “Fresh Cut” at the Knight Gallery at CCRI in 2012. Since then I have installed variations on these in several other locations(AS220 Project Space, Jamestown Art Center, UMass Dartmouth, Grimshaw-Gudewiscz Gallery).
Historically I have been an artist who has worked on pieces in the studio alone and shown them only after months, even years of scrutiny before the public ever sees them.
Now I find my self coming to the gallery with my folders of cut paper and some idea of what I want to do. Keeping in mind that I have several hours, maybe that whole day, and with the curiosity of what I will in the end create in that space.
Although these works are prepared in the studio, their final configuration only takes place as they are assembled on the wall. The installed piece combines process and object, it presents the inseparability of knowing/not knowing. The installation is the result, sum and residue of action, time and space.
My work has evolved through the act of process: one piece leads to another. For me the most effective way to make art, is to find a methodology; which allows the painterly process, once set into motion to proceed as a natural force