the way

This body of work is intrinsically inspired by the construct of time and space, human experience & perception, consciousness, & cycles of birth, life, & death.  While the entire construct of human reality, perception, and history is based on a concept of linear time, simply in engaging consciousness of the ‘passing’ moment, time can dissolve into the experience that there is no time in sense of past or future; there is only one eternal moment; all moments exist simultaneously.   Yet, as human be-ings, we are anchored in this earthly time/space realm, and every person lives a journey, some story that takes them from being born someTime somePlace to dying someTime somePlace.  AnyBody has an interesting story, if only you care to listen.   Some of us have memories which seem to reach far beyond this time/space, this body, this life.   

The grid has always been instinctually very dominant in my work, the vertical representing timelessness or immortality, transcendence of the physical plane, connection to the spirit world, and the horizontal representing time/space, earthly domain, mortality, gravity.   The title of this body of work references the endeavor of being in the moment, right at the intersection of time/space and timelessness/spacelessness.  The act of creating often serves as a portal to this experience. 

the how

The mixed media work comprises any combination of drawing, painting, collage, and found objects on one or both sides of a surface.  Then individual creations of any media may coexist in many different incarnations in different locations.  There is a perpetual blurring of the distinction between what was created past or present.

In early work, the journal process seemed relatively separate from the rest of the work, formally speaking.  In the journals, everything is generally black-line ink drawings, blind contours, geometric patterns, very simple, crisp, neat writing, quiet, sometimes playful, simple yet often cryptic, encoded.  In contrast, my paintings are generally loud, a lot of color, collages usually loaded with imagery, and then simple drawn elements are incorporated.  Increasingly, I have been taking simple small drawings and writings from my journals and converting them to large-scale compositions, feeling the desire to experience them in a size relative to my body, something I can walk around or even get inside, something that might envelop me.

In a sense, my work is an ongoing ingestion and digestion of everyday realities, both personal & global.  My process is largely intuitive, meditative in a sense, rooted in the experience of this physical realm, anchored in pace and breath, and sometimes repetition. The work itself tells me what needs to happen next, how to balance areas of color, where something more than paint is needed, where something less—defining areas of delicacy and areas that are raw.    I like to work with whatever materials are at hand in an assembly type fashion & collect all types of objects that represent little vignettes to me, just waiting for the right moment to be reborn. Usually, I work formally and content reveals itself to me as I go. Each piece, like each person, has a story to tell.