This website presents several series, and overlap exists between them. I have been inspired to make visible the tension which is characteristic of our times. This mental and emotional strain–this tension–is my true subject. The series are variations on it.
Adding color to a purely abstract, geometric plane, and turning it in space, I consider this ribbon-like figure the physical embodiment of pure spirit. As a symbol of the human spirit, transcending gender, race, politics and the personal, it presents itself as a balancing act of rationality, feeling, and energy. Placed in an ambiguous context, perhaps it is lost, abandoned, or exploring space as a self-sufficient pioneer.
Painting with a variety of techniques in acrylics on paper and then working selectively with collage, I combine colors and visual textures to suggest multiple landscapes. I work hard on the relationships between the landscapes and their sequences. The suggestions of atmosphere and topography often appear to be photographic, while the grid-like organization expresses order, change, and continuity.
Composed with two canvases or made to look like two, spontaneous techniques in one are contrasted with carefully blended transitions in the other. Perhaps cosmic and microscopic worlds are juxtaposed with an atmosphere and light of another. Each canvas is a composition in itself, but as with the Landscape Progression series, the relationship between the two becomes greater than the sum of its parts.
In this series, the possibilities of combining differences in Landscape Progressions and Transitions are taken further by joining abstract and representational styles, mixing media, recycling old work, and assembling multiple panels. In addition to my delighting in their variety, I regard the compositions as metaphors for disarming tension by celebrating differences, embracing change, and extending boundaries.
Digital Prints 2022
These digital prints on metal and paper are not simply printed reproductions of paintings, but original artwork using a computerized process. I paint the raw materials, photograph them, and then use Photoshop as a tool to create more complex illusions. I have found myself drawn to a dark depiction of fragments, raising questions about the past, preservation or conservation, and the unknown.