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Artist’s Statement
I believe painting should involve a certain amount of risk, much like improvisational jazz music. When I look back on a painting that I’ve completed, often times my favorite areas are the brushstrokes and images that were never parts of my pre-conceived plan, yet they form a rhythmic contribution within the work. Normally my paintings are about 40% preconceived when I begin. The remainder falls into place to resolve compositional, balance, color, or image juxtaposition alliances. Each work arrives after months of reading and studying my chosen subject material, usually at the local library.
The subjects of my paintings have a tendency to leap out, however I do not consider myself to be an ‘objective’ painter, per se. What I like most about my favorite artists’ works is actually the surface, and not necessarily the subject. I love brushstrokes. I’ll stand inches away from a painting in a museum (often making the guards very unsettled) and observe the juicy brushstrokes of the master. I’m forever seeking this ever-elusive jazz rhythm of brushstrokes that ties the piece together. After the brushstrokes, I’m looking at composition, balance, surface tension, and color. The objective subject is the last thing on my list, which is an irony because I’m aware that my subject material is boldly projected. I merely consider my chosen subject material as a vehicle to assist me in putting down a rhythmic pattern of brushstrokes with color experimentation.
I enjoy painting on large canvases, between 6 to10 feet in height and width. The large format creates many problematic surface areas that must be resolved. It also allows me to expand on what I wish to express. That’s part of the challenge. Plus, I like the physical demands while drawing or spreading paint over expansive surfaces. The whole process creates an environment that I become deeply immersed in, and most times overwhelmed! A well-known writer once stated that he begins writing each novel with lofty ideals, only to find himself completely lost midway through the work – to the point of drowning, then has to swim madly against the current to pull himself safely back to shore again, thus completing his journey. I find painting very similar.
In returning to the subjective issue, I usually bounce back and forth between figurative paintings and landscapes. After I complete a figurative painting, I have a desire to paint a landscape next, and vice versa. My figurative paintings usually deal with people who have left an imprint in history. Many of the landscapes address the issue of environmental pollution. While growing up, my parents subscribed to Life magazine, National Geographic, and Time magazine, amongst others. The magazines’ photographs often contained indelible images of wonderous landscapes or sociopolitical personalities, hence these themes planted a seed in my art.
Thank you for taking the time to view my paintings. |
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