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I have always had a strong interest in both the mainstream tradition of fine art and in classic American commercial design, graphics, and modernist architecture. These interests often seemed in conflict, a view that has changed as I’ve matured as an artist. I now try to reconcile and integrate the range of my visual obsessions, rather than defining them as separate and trying to choose among them.
My recent work incorporates graphic geometries within the context of gestural painting, a tradition I’ve been mining for twenty years. To emphasize the contrast between gesture and geometry, I juxtapose a hard graphic edge with a richly varied painterly surface, drawing from collage but interpreting it as painting.
Space and color are the tools I use to reconcile oppositions and explore harmonies, always within the domain of the flat surface and rectangular frame. I use metallic colors of earth and excavation, which enable me to unite insights from the landscape with architectural concerns, and I leverage the integrity of the birch panels that are my primary surface. Layering materials, I try to coax light from the structural contrast of gestural extravagance underpinned with disciplined design.
My primary truth is found in the materiality of paint: its weight, pressure, temperature, color, contrast, tactility, and linear trail—in the thick and thin of it. Remaining with this truth enables me to explore traditions with innovations that I once believed were opposed, so I can extend the American vernacular and tradition.
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