As a first grader, riding in Dad’s ’67 Chevy shortbed pickup in the center of the bench seat (between them, no seatbelt) I was fascinated by the repetitive, rhythmic movement of telephone poles. We were driving through the Mojave Desert, going on a back road from Lancaster to Rosamond (then on to Tehachapi), where there are endless lines of ruddy, creosote telephone poles with tension wires at various levels of slack. The poles whipped past, punctuating the sky, defining our speed. It was mesmerizing (it always fascinated me, but on this one particular day, I got this overwhelming sense of them being planted in the Earth). It was like I pulled a camera back and realized these poles were here, stuck in the ground, on the surface of a planet. And here we were, rushing along the highway, in a wide open space, on the surface of a planet. And the planet was spinning, and it was out in space, surrounded by other spinning planets. These man-made objects, we as humans, the truck, the beer can in the paper bag (watch for cops!)—it was all planted, moving on a surface, moving and infinitesimal. Of course, I didn’t know the word “infinitesimal” then, but I did have a love affair with Jupiter, whose colors still infect my artwork.
Here are a few finished pieces. I’m behind on documenting the finished work, so I’ll be sharing more photos of the finished pieces not shown here as soon as possible.
Since I’ve already shared photos of Bytes and Amphitheater ad nauseum, I’m not repeating them here.
Working title: Generative Forms (2013). Medium: Mixed (acrylic monotype, watercolor monotype, trace monotype, serigraphy, image transfer, direct drawing, direct ink on Chinese xuan rice paper).
Building on my cornerstone interest in the development of matter from non-matter (philosophically – being from non-being), some of my familiar archaeologically-infused rock shapes tumble in a state of ambiguous gravity. However, working through these spinning, connective ingredients, I’ve blended glyphs and language, the linear strings of maps and filaments and even pictographic suggestions. I’m interested in the convergence of raw materials and the information that defines their construction–an attempt to reach an Alchemy of Image.
Detail from Generative Forms:
The next piece has two working titles: Telegraphy and Data Pulse. Like the piece above, stones and shapes extrapolated from important archaeological fines or crystal structures find themselves spinning through a void rife with possibilities. The void in this case is not the stark “white paper” of some of my older pieces. Instead, inspired by the paradoxical “active voids” of Richard Diebenkorn, early Agnes Martin and Jean-Michel Basquiat, I’ve created a void, or negative space, in which the visual elements of “matter” and take root. In this case, the void is made from thin, highly transparent layers of serigraphy and monotype. This piece also heavily incorporates acrylic monotype and some collage.
The names refer to research I did into Information Theory, related to the original translation of language into a code of either electrical pulses or physically manipulated wood and iron machines (the first telegraphy, before Morse). I am fascinated by the fact that language, itself a conceptual code for the combination of verbal sound and interpreted meaning, can be transmitted via wire pulse or gesture–simultaneously making a “physical” journey, even as the message stays in its original place. Technically, then, the message exists in more than one location simultaneously, just as the message you’re reading could be up on a dozen screens at one time!
No working title for the piece below. This painting incorporates painted negative space, suggested space and layers of ink on rice paper. Interconnected forms gradually settle into faintly familiar shape-associations. A lot of the really subtle color shifts did not translate well to the photograph, so I’ll have to see if I can get a better shot that captures the surface variety.
Working title: Transitional Space
Medium: Mixed (intaglio, serigraphy, woodcut, trace monotype, acrylic monotype on Okawara paper).
The triptych below is designed to be arranged multiple different ways. My mentor and I are working out a good final presentation. Medium: Serigraphy, Intaglio, Direct Ink.
Working title for the piece below: Superclusters.
Medium: Layered acrylic and watercolor monotypes on thick, off-white paper.