I am a formalist at heart. I resonate deeply with the American work produced in the mid-twentieth century. My entire life, though, has been within the post-modern era. As such, the formal visual language I employ in my work is driven by metaphors, layers of meaning rooted in my idiosyncratic concerns.
My formal use of line and color shrouds the sociological, political, and religious concerns in my work. The formality obscures the tensions of personhood, identity, community, ethnicity, and providence that drive my artistic production. Over the years, I have sought to unify the metaphors in my art into a language that more fully negotiates the complexities of being human. I fail. Yet in the attempt, I find greater insight into the human condition and more fully understand the intricacies of the life I live.
All visual art is incarnational. By its nature, it takes ineffable concepts and transmutes them into physical objects. I embrace this transformative process and produce contemporary icons giving form to the inexpressible.
Physicality is embraced in my work. At times, the tension between 2-D and 3-D, between sculpture and painting is explored. My primary method of painting, layering pastel and acrylic medium, is inherently physical producing literal depth in the surface and drips that flow over the edges of the canvas. The excess medium from these paintings is employed as drips in other works paired with obsessive line work. In yet other pieces, these drips mutate into smears of paint. The paint is paint. That reality is embraced. Yet, the physical becomes a metaphor for something more.