Painter, Printmaker, Art Historian,
All art is a dialogue. At the beginning of my career I was painting Sacred Landscapes, Kings, Holy Men, and Halberds, with much symbolism and mythology. Later I used photographic silk screens of other artists' images to print into my own work. Some of the screens include reproductions of work by Leonardo da Vinci, Pablo Picasso, Georges Braque, Andy Warhol, Carl Andre, and many others in order to explore my own unconscious. Each interacts with its neighbor to form new meanings, plus my own images and unique color field.
artist and art historian, I borrow other artists' images and put them
to different uses, in a new context, in relation to my own work. I am
interested in incorporating "interconnected period statements,"
a kind of visual counterpoint which has to do with the consciousness of
our own historicity.
I work on
hundreds of paintings, and parts of paintings; each painting is
made up of different components that I attach in various ways. This
process is not a variation of collage so much as it is a creation and
discovery of the correlation among various art images in the history of
art; their originality lies in the organization of heterogeneous
allusions. The confrontation of these multi-images creates a psychic
tension as the different artists' works are juxtaposed; it changes the
"order of things," as T.S. Eliot stated about the perception of
Color is important and often I applied glazes and layer upon layer in various ways to create vibrant tonalities; it functions predominantly as a structural element, revealing over-lapping and under-painting, belying the complex process of building and revealing the composition.
The titles of the works are important in that they are not mere appendages but are intricately and poetically bound up with the intent and effect of the picture. As Duchamp said: a title should add another color to the work.
inspired by a long-forgotten study for a series of "Sacred Landscapes"
painted in the early 1950s about the demise of civilizations, I applied
layers of ethereal blues to create resonant abstractions, a series of
"Mystic Landscapes" recalling Einstein's: "The most beautiful and
most profound emotion one can experience is the sensation of the
mystical." This is "mystic landscape" as a state of being, in
topographical non-spatial terms, yet pertaining to the material earth,
implying a chthonic and maternal metaphor.
A work of
art, beyond being a manifestation of what we see, or are unable
to see, is also one of belief. Like Immanuel Kant's "moral law
within," we know more than we can calculate. In a manner analogous to
nature, which - from atom and crystal through organic life to the world
of stars and planets - my new work is not "abstraction" so much as
it is personal symbolism, and hopefully foretells landscapes of
illumination, not the demise of civilizations.
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