My paintings are a result of a mainly
intuitive process that evolves out of the combination of shape,
color, and texture and originates form personal ideologies involving
health phobias and religious beliefs. The imagery in the paintings
is of biological origin, cells that fill up with matter, dense
spheres that recall cancerous build up, the compositions and colors
are inspired by Italian Renaissance paintings. The tangible is
inserted into the realm of the ethereal.
Many of the paintings’ aspects are physical. The drips, scrapes, and
clumps of paint relate to the viewer on a basic level. The corporeal
elements are surrounded by an expansive space with sharp divides,
which reveal to the viewer, as religious paintings often do, the
mortal and the divine inhabiting the same space. I build my
paintings on such contradictions. Prominent hand-controlled
brushstrokes sit on top of transfers that do not reveal any touch of
the hand. Thick layers of paint lie alongside thin wash areas.
Visually flat space juxtaposes illusionistic space.
My Roman Catholic background and interest in Italian Renaissance
painting form a conceptual backdrop for my work. Within this
framework, I give emphasis to the process of combining, arranging,
and manipulating paint. Circles created by line are drawn using a
hand made stencil whose edges have become imperfect through the slow
build up of dried paint over many years of use. The layering and
repetition of small dots and marks reference microscopic units
within seemingly limitless and non-distinct background space. So
conscious action and subconscious ideological input interact to form
a geometric abstraction. Divergent information coalesces into an
intuitively generated visual communication statement.