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Artist Statement

“Art making is an exploration of emotion, intellect, physicality, and spirituality. It is a manifestation of the interplay between the conscious and unconscious mind. Human beings tend to have an inherent appetite for altered states of consciousness. Art can be a conduit for this kind of experience. It can help us to break free from the imprisoning models of reality that we create by our own minds. Art making is a way to experience a kind of freedom from the trappings of rational perception. It is a method for counter-balancing the restricting formalities of contemporary civilized existence. Ultimately, art is a metaphor for the spiritual and philosophical ideas of life that cannot be otherwise expressed.”

 

 

ABSTRACT PAINTINGS  (2002–2014)

 

These paintings are a re-examination of nature. There’s a psychological shift that occurs with abstract painting. It opens me so that I may tap into the rhythm of everything around me. I become a kind of dance partner of nature. Together, nature and I, we create these rhythms, shapes and patterns in a visual and conceptual space. My earliest paintings depicted the rhythm of places and objects. This transformed into expressing the rhythm of the mind. The landscape became the realm of the unconscious perspective. Some of these paintings depict an emotional and psychological state of being, while others express a spiritual event or transformation. Later, the work became an attempt to depict the rhythms that exist beyond the psychological subjective point of view. The challenge then became how to rhythmically interpret the landscape of multiple dimensions of reality interpreted through the collective unconscious. Ultimately, I hope the viewer will allow themselves to reflect on how the work makes them feel by projecting their own ideas about its meaning and content. These pieces should be a screen onto which one can project their own experience.

 

 

FIGURATIVE PAINTINGS  (2008–2018)

 

There’s a certain kind of rapture that exists between an artist and their work. Reality transforms into a heightened awareness of shape, color and texture. There’s a strong parallel between this experience and the sexual experience. Sexual bonding opens us to our deepest longings for connection. Art makes tangible the ache in our bodies and yearning in our hearts. These paintings explore the connection that exists between these analogous experiences.

 

 

DANCE ACTION PAINTINGS  (2012-2013)

 

The human figure moves in a continuum of rhythmic motion. Its pulse, breath and craniosacral rhythms perpetually flow throughout the body. A dancer’s body reveals these rhythms through the most sublime expressions of shape, gesture and movement. These paintings are an attempt to capture these rhythms in collaboration with choreographed dance. Painting and dancing have been forms of creative expression since the dawn of ancient ceremonial cave paintings and ritualistic tribal dances. These dancers and I explored this relationship through an orchestration of internal and external rhythms, a reticulation of pattern as sensory stimulation perceived by hands and feet, and by harmonizing a two-dimensional canvas with a three-dimensional dance. Ultimately, by combining these two art forms, we engaged in a deeper expression of consciousness; communicating what is too deep for words and therefore evoking an ancient language of emotional truth.

 

 

DIGITAL PAINTINGS  (2000-2009)

 

I wanted to examine how digital painting reflects human evolution. Our current cultural landscape is inundated with the preoccupation of human augmentation. Humanity is being manipulated and modified at an exponential rate as a result of technological innovation. I’ve placed many of these pieces in the landscape of myths and legends which have evolved in harmony with the evolution of humanity. At the very foundation of human expression is the impulse to create stories. However, misinterpretation and distortion are often the result, creating a transformation of its original meaning for the use of personalized significance. Therefore, I’ve done the same thing with these paintings – a digitally manipulated and modified image of humankind.

 

 

DIGITAL INTEGRATION PAINTINGS  (2008)

 

Having worked with both digital and traditional mediums for several years, I felt it was time to synthesize them together. The first half of this union started with a painting, completed with traditional mediums. The second half involved reversing the color palette digitally and selecting the right balance of color, shape and pattern to emphasize the amalgamation. The digital impression was then attached to the surface of the original painted canvas. Ultimately, the integration of these two mediums sheds light on the opposing characteristics of the mediums, and the contrasting techniques of painting that occur while creating this antithetical union.

 

 

'SOUL VESTIGE' PHOTOS (2012-2015)

 

In Los Angeles, we drive our cars everywhere. These machines are an extension of us. We ensoul them with our essence. On the highway, there’s only a concrete barrier that protects us from slamming into oncoming traffic. Our focus is on flowing with traffic, not on slamming into anything, but there are times when we lose control. On rare occasions, we crash into those barriers, scarring the highway with a trace of our car – our soul. It’s a peculiar vestige; embossed with steel, rubber, plastic, aluminum, fiber glass, Newton’s laws of motion, and the chaos of ephemeral horror. These photos are my attempt to reveal the remnants of Los Angeleno souls – vestiges of such turbulent beauty.