I have regularly moved between natural studies and the pursuit
of images that convey a sense of theater, emphasize the grace and
structural integrity inherent in natural forms and produce encounter
with the dramatic, the bizarre and the humorous.
Throughout my life, I have been fortunate enough to travel extensively.
From an early age I was exposed to a variety of cultural aesthetics.
During such adventures I absorbed everything from primitive folk
art to the wildly ornate theatrics of Baroque embellishment and
the ariel feats of Gothic cathedrals. I also became fascinated
with the myths and narratives so abundant in every corner of the
world. Because of this focus, I never felt an affinity with abstract
expressionism. In spite of growing up in the 60’s and 70’s
when it flourished so, I chose to virtually ignore it as an influence
and instead became somewhat shamelessly representational. As such,
my influences amongst the contemporary fine artists of the world
are few. I do credit the usual old masters in particular Albrecht
Durer whose engravings were an inspiration to take up a somewhat
religious zeal toward printmaking while in college. However, though
it is almost taboo to say it, during my “formative years” I
fairly worshiped illustrators in general. Already headed in the
direction of having an illustrative style, it seemed quite natural
that I should gravitate to those whose work exhibited a mastership
of illusionism.
With regard to subject matter, all sources of mysterious inspiration
aside, it comes down to recognizing that which falls within the
parameters of my own particular idiom. Thriving on detail and intrigued
by rhythm, I tend to focus on subjects that offer an opportunity
to explore those. Having come to relish the patterns that occur
in the nature, as well as those which are unique to the creations
of mankind, the temptation to juxtapose them in a composition is
irresistible. Within the proportional confines of a sheet of paper,
the fractal shapes and structures of nature can be set like jewels
into the Euclidian geometry of architecture or the swirling decorative
motifs of an art nouveau backdrop. Even while embracing a tendency
towards dark humor, I strive in this way to make the work viewable.
That some of the pieces are humorous and others decorative is purposeful
in so far as it offers me a change of mood-without which I would
certainly stagnate or take up bowling.
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