Before anything else, I have a passion for paint and faith that in it and through it, something deeply meaningful can emerge. In contemporary art, there are many ways—and ever new ways–to create visual art; it seems to me that one’s choice of medium/media has become especially significant in its own right. I value my relationship with paint enough to let it move me much like it would in abstract painting. When I start a piece, I never have a preconceived notion of its final state, and I tend to find, lose and shift as I feel my way along. Cues and clues arise as the painting takes on a life of its own. (The down side, I suppose, is that I’m not an efficient painter, and it can take a long time before everything comes together in a reasonably satisfying state.)
At the same time, I am fascinated by the way a visual image can put multiple ideas in play. Underlying all my work are themes having to do with the very human need to make sense of one’s world. My approach to the complexities of life is to avoid pinning down ideas or allowing a straightforward reading of an image, and as a consequence, the resulting artwork is often multi-layered or polysemic. I know that a painting is successful when it is engaging enough to raise questions for viewers and stimulate their imaginations.
I paint with acrylic, supplementing it on occasion with other media, such as collage, water-soluble crayon or photo transfers.
Typically, I work in series in order to explore a subject area. Recently I completed the series I call “Fabulous Menagerie” — “fabulous” in the sense of pertaining to a fable—which is driven by our relationships with the other creatures that share our world. A new series is in progress, tentatively titled “Behind the Magic Kingdom”, which takes an oblique, perhaps skewed view of fairy tales.