My work is concerned with one of the most fundamental aspects of pictorial language: line as
expressed in paint, print, dye, string, rubber, wood, or metal. Forms slowly and hypnotically
emerge from the use of line. Repetitive linear movement is an essential part of investigating the
growth and development of form. The mark -- a long sinuous thread to be exact -- which leads
through space and color and form, is unyielding in its methodology providing a way into the
subject or ‘voice’ of the work. Relentless linear movement describes space and maps the
development of each form to create a deep space (which implies intimacy).
Notation of vision is central to the work and is the subject of an ‘all over panting’ which
employs balance and symmetry to establish patterns, allowing for the work to convey a
meditative quality toward fullness and transcendence. By intentionally enlarging the format size,
the painting allows for the viewer to become part of the image, as if standing in front of the
ocean viewing. The essence of this experience is a state of reverie, which makes light of our
imagination; the sinuous line seduces vision into a inner immensity that gives meaning to the
visible world.
However, my focus on recurring fractal-like patterns as observed in nature, and the interaction
of color as fused in light, has grown through the working process, and is supported by the
interconnected qualities of method as rational thought and image as concept. While the
systematic application and exploration of linear movement is emphasized through the
physicality of non-objective painting as it references both the optical and tactile phenomenon in
the painting process.