January/February/March

2010

Exhibition Wrap Up

There was an abundance of enthusiasm surrounding my exhibition at the Catherine Person Gallery in Seattle that ran from November 19th through January 5th. It was an exciting event, and I want to thank everyone who attended the opening reception - especially those who traveled from afar (Walla Walla and San Francisco...you know who you are) to show your support. It was equally exciting to follow the buzz that developed around the show in various online communities. All of the comments and interest that was shown via Facebook posts and email threads were greatly appreciated.

All of that enthusiasm is a testament to the effect and influence that art can have on our individual lives and how it can move us to share our reactions and insights with the larger community. This exhibition in particular showed me that artworks created in relative seclusion do have a great impact on others once they move in to the public arena. Many of you shared with me your thoughts about the new paintings, and you spoke of the density of possibility that each piece offered to every viewer. The consistent thread that connected many of your comments was that you felt inspired and rejuvenated after experiencing the paintings in the installation. That point alone gave me great satisfaction in thinking that the show was a success.

Your reactions and your comments have sent me back into my studio with a renewed zeal to continue exploring at greater depths the themes inherent to that body of work. Each of the paintings and prints are heavily layered in their concept, and are born out of a personal aesthetic vision and an intense wrestling with contemporary issues that affect each of us throughout our lives. They do not overtly espouse a political or social agenda but their creation was influenced by contemporary topics that concern our society. In that regard, any concept or statement that I was grappling with is fully integrated into a complete visual aesthetic, which provides each viewer an opportunity to observe the paintings from their own perspective: in turn developing a personal understanding and assessment of the work, it's message and the underlying motivations of it's creator.

The encouragement and support that I frequently receive from each of you expands my creative capacity and provides the necessary sustenance for the continuation of the journey. Thank you.

Exhibition Video re-cap

Just prior to the opening of the show I made this short video on my iPhone. It's a quick walk-through of the work that was hanging in the gallery.  Some of you may have already seen this, however, I thought you might enjoy a video recap of the exhibition. It’s quick…so watch carefully or you might miss the whole thing. Click on the video screen above or use this link to watch the video: http://www.youtube.com/watch?v=32A86L3tvlQ

Contemplating Authenticity

A few weeks ago I wrote the following words in my notebook.

"Authenticity. As a person, and specifically as an artist, I should be fully concerned with seeking who I truly am. Striving to being novel for the sake of being on the cutting edge inevitably leads to confusion and to personal emptiness, but if I am audacious in my search for self then by my very nature I'll be authentic, and unique – truly novel."

Those words have not only stuck with me as I continue to work on pieces in my studio, but they also resonate in my thoughts as I move through every facet of my day. Hopefully you'll find meaning in them too.

A Persistent Eye

A subtle, yet persistent "eye" has been working its way into a variety of works that I've been making over the past few years. I find this image to be both intriguing and disconcerting as I continue along the creative journey of self-understanding.

As an avid observer, I often think of myself as behaving like a sponge, which continually draws in all that surrounds it. The level of absorption obviously has its limits, as one can only hold so much information. However, I'm continually surprised by how much capacity we have to soak up things that become lasting or influential in our lives.

The various filters that we set-up in our own minds, to sort that which we value are so efficient that it seems the decisions are intuitive. Self-image, education, ethics, social outlook and religious views are a few of the factors that make up our input filters, and it seems as though our filters are as unique as our fingerprints.

If I'm being true to who I know I am, then my individuality ensures that the work I make will be distinctive. This idea of self-knowing requires immense effort in order to peel away the many false selves that we have acquiesced to because of either external or internal pressures. It is essential to seek whom you are at your very core in order to find satisfaction in your life. As that exploration continues for me, and I am interested in the correlation between my search and the specific images that continually surface in my drawings, paintings and sculptures.

The "eye" is a powerful image that is rooted in historical and cultural contexts that span from Ancient Egypt to contemporary societies worldwide. The eye is referenced in sacred texts of various faith traditions. In Greek mythology, Hera's servant, Argus Panoptes, was a watchman who had one hundred eyes; Roman and Greek Mythology both cite the Cyclops, and the infamous "evil eye" is referenced in a many cultures around the world. Plus, since it is with my eyes that I primarily perceive the world around me, I find the subject quite interesting and I'll continue seeking to better understand its place in my work. So, watch for the "eye."

This painting was part my recent exhibition at the Catherine Person Gallery, and I chose to include it in this newsletter because it is a strong example of the direction that my current body of work is taking. Here are a few thoughts that may shed a bit of light on my vision and process.

Shimmering Blossoms Unveiled, 2009

acrylic on canvas

36" x 48"

"I find great pleasure in seeing how much more bursts forth from the current paintings as the images and structures move towards greater abstraction. The vertical segments lend strength to the overall composition and visual depth of the painting. The ghost white veil appears to float forward in the picture plane as a slew of vibrating dots dance as they recede into the background. The sculptural form that is slightly left of center juts vertically as it meets an effervescent array of energetic marks. A melancholic color palette of muddy greens and shades of grey mysteriously tether the painting while the edges and center structure seem intent on a continual seeking of greater possibilities."