MY ART PROCESS
Initially my paintings begin intuitively by cathartic mark-making. I believe this oracular method provides an unrestricted space that can flow freely; the paint knows where it wants to go before, I do. Sometimes, a watery spray on the surface creating layers of acrylic paint: there beneath the dripping paint emerges abstract worlds in untamed color palette and shapes of ghostly figures, mountain peaks, valleys, skies that sometimes morph into eyes, trees, hearts, rivers, the endless galaxy & repeating forms where they are later emotionally refined and defined through pointillism and painted layering.
I appreciate working on wood because of the innate life quality of wood has within the grain, rings, texture and smell. I am drawn to engage with the painting on wood surface because it once was alive and here, I give it new life so to speak- expanding it’s life in the opportunity to form something new into the world that essentially wasn’t there before. You may find continued painted imagery on the backs of my artwork—written streams of consciousness—or hidden objects inlayed.
Landscapes internally and externally reflect one another as the moon is reflected in a body of water so is the soul reflected by the environment in which it lives, thrives, deadens, or hides. Shifting forms cascade downward, mountainous shapes plunging upward, spiritual planes and interior landscapes of the soul arising in tactical imagery. Like the European Symbolist Landscape painters, it is about the mood of the abstracted conscious, subconscious, and unconscious and “an attempt to inner vision that could not be mass produced” is archetypal of the symbolist thought and creation (2012). I too discover the unknown within the confines of my perceptions and I aim to continually be in relationship with conversation happening that is often just beyond my periphery.
I do not always know the form or symbols that are being revealed or are saying—being in the mystery of them provide an important aspect of the creative process, following the flues, that opportunity to be more deeply in the development of my creative process in a way that is unimposing, unassuming, and state of child-like wonderment of ‘what’s happening.’ My paintings express evocative feelings that shift over time encompassing a dichotomous spectrum of thought & emotion, light & dark, real & imagined, mind & heart, logic & intuition. The reworking of older work has been a symbolic journey as well—regarding ‘working on ourselves’; ever changing as we are perpetually experiencing, re-experiencing, growing, honoring, expanding and a mission to grow during the privacy of intimate brush strokes.
These abstract thoughts are later conceptualized in application and exercises through engaging the concept further in a physical process: such as, in brush stroke, burning, oil-rubbing, carving, scraping, tearing, writing, finding objects and other limitless applications. Such a thing in space employs methods to create on surfaces that invite cavernous inspection of the emotional, mental, physical, spiritual, and material inquiry that is a kind of ‘thing’ I am usually seeking after, perpetually driven by a desire for re-alignment with the wholeness—after life’s de-fragmentations of fractions of the Ego Self that appear within the Shadows which move us all. To create is to make known the unknown, to know I am alive, to know I am not alone and to know I am loved greater than comprehension. I feel this integration only when I am painting as if it was where I need to be, in my studio, creating and communicating with ease the conversation in the periphery of my mind. Most of all, my hope is to explore what the inner image is trying to say to the outer image and to bring that pictorial imagery into fruition through the emotional and cognitive moods we hold as humans.
I appreciate working on wood because of the innate life quality of wood has within the grain, rings, texture and smell. I am drawn to engage with the painting on wood surface because it once was alive and here, I give it new life so to speak- expanding it’s life in the opportunity to form something new into the world that essentially wasn’t there before. You may find continued painted imagery on the backs of my artwork—written streams of consciousness—or hidden objects inlayed.
Landscapes internally and externally reflect one another as the moon is reflected in a body of water so is the soul reflected by the environment in which it lives, thrives, deadens, or hides. Shifting forms cascade downward, mountainous shapes plunging upward, spiritual planes and interior landscapes of the soul arising in tactical imagery. Like the European Symbolist Landscape painters, it is about the mood of the abstracted conscious, subconscious, and unconscious and “an attempt to inner vision that could not be mass produced” is archetypal of the symbolist thought and creation (2012). I too discover the unknown within the confines of my perceptions and I aim to continually be in relationship with conversation happening that is often just beyond my periphery.
I do not always know the form or symbols that are being revealed or are saying—being in the mystery of them provide an important aspect of the creative process, following the flues, that opportunity to be more deeply in the development of my creative process in a way that is unimposing, unassuming, and state of child-like wonderment of ‘what’s happening.’ My paintings express evocative feelings that shift over time encompassing a dichotomous spectrum of thought & emotion, light & dark, real & imagined, mind & heart, logic & intuition. The reworking of older work has been a symbolic journey as well—regarding ‘working on ourselves’; ever changing as we are perpetually experiencing, re-experiencing, growing, honoring, expanding and a mission to grow during the privacy of intimate brush strokes.
These abstract thoughts are later conceptualized in application and exercises through engaging the concept further in a physical process: such as, in brush stroke, burning, oil-rubbing, carving, scraping, tearing, writing, finding objects and other limitless applications. Such a thing in space employs methods to create on surfaces that invite cavernous inspection of the emotional, mental, physical, spiritual, and material inquiry that is a kind of ‘thing’ I am usually seeking after, perpetually driven by a desire for re-alignment with the wholeness—after life’s de-fragmentations of fractions of the Ego Self that appear within the Shadows which move us all. To create is to make known the unknown, to know I am alive, to know I am not alone and to know I am loved greater than comprehension. I feel this integration only when I am painting as if it was where I need to be, in my studio, creating and communicating with ease the conversation in the periphery of my mind. Most of all, my hope is to explore what the inner image is trying to say to the outer image and to bring that pictorial imagery into fruition through the emotional and cognitive moods we hold as humans.