The influence of natural structure in general and its relationship to drawing in particular form the basis for his return to painting in the early 1990’s. His first series, DUST, is a response to the incremental structure and ever-changing pattern of duckweed, a floating aquatic plant. The emphasis on a mark and its evolution into pattern becomes his approach to painting. In the HAIKU series, his graphic language is expanded by mold that is grown to intersperse with his painted marks on canvas. NOTATION, MESH and VESTIGE reference both Chinese brush painting and calligraphy by continuing to compare the world that is seen with the world that is felt. The nine paintings of NOTATION contain a developed marking vocabulary from which all later paintings are derived.

Begun as a way to resolve pictorial issues occurring in the CALLIGRAPHY panels, this study series combines translucent layers of past marking activity with Morphic Projection Patterns creating a fluid integration of text and image, while expanding the deferred painting process that originated in the PLY series.


Current painting
BACKCHANNEL and PALIMPSEST are current painting series that explore drawing activity through time in development and documentation. Using a deferred method or painting process, each series incorporates various elements from his previous marking history.


MOTIF, explores drawing activity first as a deferred then as a direct marking system. Each painting is a synthesis of these two separate marking styles both based in action, but separated by time and how color is perceived. These two opposing forces achieve a perpetual spatial ambiguity, which is underscored by continually shifting patterns within the picture plane. In the deferred marking system, a translucent layering of previously painted acrylic strokes, the color is prismatic. Color appears as the result of light reflecting back through the transparent strata. The compilation of oil painted gestures floating on the surface creates a tonal calligraphic tapestry of pigment color, whose optical weight contributes to the visual tension in the painting. This fluid script floating along the surface partially conceals and episodically interrupts the rhythms of its underneath counterpart encouraging the viewer to peer through the variable openings of the pigmented lattice in a persistent attempt to reconcile the conflict between the two marking systems in the MOTIF paintings.


Begun during the summer of 2008, PLY is a series of indirect or transfer paintings, whose initial concept was a response to the 1922 Telephone paintings of László Moholy-Nagy. Paralleling Moholy-Nagy's act of disengagement by establishing a distance of time and space between the artist and the creative act, translucent acrylic paint, varying in color and intensity, is randomly brushed onto multiple plastic sheets culminating in a glossary of painted strokes. Later from this extensive marking vocabulary, individual units are selected then applied to a convex panel, constructing the painting incrementally with transparent layers that simultaneously capture the action reminiscent of painting activity while involving the viewer vicariously in its process.



© 2005