 The content of my work since I was a teenager has been about time as a field of discovery and creation. Many artists paint what they see, but my work is only significant to me when I find its meaning after the fact. Time becomes in and of itself a subject. Spontaneity and instinct guide my compositional or spatial arrangements, while memory and observation provide the sense of artistic validity needed to continue. The gesture found in my painting, drawing, and printmaking are both an athletic response to the materials and an attempt to avoid premeditation in hope of the marks finding a playful serendipity. While I am an advocate of originality and do not like to repeat myself, I am also very process oriented. Therefore, I am constantly experimenting with new applications, imagery and relationships between past work and present experiences. When I was younger my motivation for making art is the vision of a physicist discovering a portal to the future only to find an artist wondering what took them so long.
Having grown up around Art from day one since I was raised by two artists/teachers it took quite some time to accept that this might be a field I could pursue and still maintain a sense of identity. My search for originality while holding onto aesthetic quests takes me back and forth between many quickly produced works ‘which at times require material and energetic sacrifices, and concentrating on a more focused image. Searching for that medium between a sprint and a marathon in my work is still a challenge. At this point in my career I feel that it will be vital to re-experience other artists work both historical and current as well as develop a dialogue with colleagues. A sort of “wander lust” might be too prevalent in my imagery otherwise.
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