As a nascent painter in the early 1980’s I was on one of those museum strolls we all make and one day was studying a wall of Egyptian hieroglyphs. Enchanted by the arrangement of symbols and form, I found myself wanting to participate and to inject or retrieve some kind of meaning from them.
The small sculptures had begun to feel repetitive after about a hundred works or so, and seemed to have run their course. By the mid-late 90’s the paintings took on a more naturalistic imagery whose subjects mingled animals in landscapes (below left: Swirl, 2000, o/c 72”x84”; below right: A Magpie, 2004 o/c, 12”x 16”). These new paintings seemed to encourage a storyline, but were really nothing more than what you invested them with. By 2005 the animal references were abandoned, and I began the large dramatic landscapes I call the Natural Phenomena paintings.
As my subjects evolve, I remain interested in a give and take between the mind’s desire to assign meaning and the painting’s ability to resist. In their construction I often combine or collide images, but the images themselves are not random. They come to me from somewhere, and there is an urgency to make them in a certain way.