Ink on Paper
4 x 4 inches
My work is concerned with one of the most fundamental aspects of pictorial language: the line. Forms slowly and hypnotically emerge from the use of line. The repetitive linear movement is an essential part of investigating the growth and development of form. While the mark — a long sinuous thread to be exact — which leads through space and color and form, is unyielding in providing a way into the subject or ‘voice’ of the work. The relentless linear movement maps the development of each form to create a deep space (which implies intimacy).
A 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, the painting or drawing 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; while the sinuous line seduces vision into an inner immensity that gives meaning to the visible world.
My focus on recurring patterns as observed in nature, along with the interaction of color as fused in light, has grown through my working process. 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, and how the interconnected qualities of these abstract notions are supported by method as rational thought and image as concept.
In the Significance of Detail Series, I have rethought my work to its simplest geometric form[s], in this case, a 4″ x 4″ square. By shifting my attention toward a new frame of reference, I have found a higher expression of structural form[s], the root that leads to greater unity. Each geometric form reveals its own unique vibration, an underlying architecture that permeates all form.