Photo by Michael Short- Special to the SF Chronicle
When I paint, I think about movement as energy and the process of discovery. The brush flowing across the canvas evokes the feeling of flying through the air, the importance of being present in the moment. The senses are sharpened, assumptions are dangerous, and keen, direct observation is essential. Mass, weight, energy and motion characterize what it means to be alive - to challenge gravity, to lift oneself aloft, to be aware. My work is about this sense of being in the world.
My most recent paintings are a combination of geometric and organic forms. Working with an archway that is reminiscent of Byzantium, Medieval and Renaissance paintings, the arch represents the curve of the earth, the curve of a halo or a dome, but most importantly it is like when, a thrown ball is at the top of its arc. This is the suspended moment of weightlessness and timelessness. That arch that barely grazes the frame is the moment upon which the whole composition hangs, balanced, as if on scales.
Within that balanced space is vibrant movement, the life of the canvas. Boxes spin, rotate and attempt to maintain an unstable configuration. Like the ceaseless flux of nature, the boxes merge and transform, their contours often emanating from the shadows and the remnants of what was painted over, rising, falling, colliding and propelled.
I am particularly interested in the how and why of art: what techniques make a particular idea work and why they are successful. My years of extensive research and study has led to a passion for helping other artists expand their creativity and move their work to the next level.