"Painting is silent poetry, and poetry is painting with the gift of speech" - Simonides from Ars Poetica
"Things met with in this world are tied to the forms of our perception in space and time and to the forms of our thinking. We see what is before us, the present, the objective. Eternal being makes its temporal appearance in this way. The only way out of captivity in the forms, out of the confinement in the prison of projections, the only contact with the eternal, is through freedom.
- Saul Bellow from Mr. Sammler’s Planet
My art has always followed directly from the particulars of life experience. I seek an art apart from overly conceptualized theory or overly polished ready-made tropes.
Primarily I am concerned with a appreciation of the experience of vision. I am attached to experiences of vision as found in our common sense first hand experience prior to their mediation in the media. I am determined to make a quiet personal art that speaks to common human needs and desires.
Personal contact with the particulars provides the emotional and psychological impulse to distill it into an artistic order. My emotional and historical attachments to people, places, and things leads to images with a public and poetic value of their own, independent of the original source. As Saul Bellow has said, if you want to arrive at the Eternal you still have to depart from Grand Central Station.
Primarily based on observation, often directly before the motif, my work synthesizes the direct sensations of vision, emotional attachments and the abstract and expressive possibilities of the medium. Fidelity to vision is not an end in itself. A sense of verisimilitude is necessary only in so far as to maintain an essential visual identification or likeness, and hence psychological connection with the particular appeal of the original.
Distortions or modifications of line, color, and space are imposed forms of thought, visual ideas which necessary to communicate meaning beyond mere facility or facticity. Visual ideas are visual abstractions, a priori categories of thought imposed on the flux of appearance which exceed what is given by percpetion. Such ideas are the language of design, line, color, value, and shape; they are harmonies, cadences, patterns, and rhythms teased out of the appearances of nature. My mind's eye augments appearance and molds it into a more fixed and final form.
This language of vision emerges from the necessities of reconciling the particular forms of represented objects with the bounding parameters of the medium, its flat rectilinear format. Formal means are ultimately directed toward aesthetic and emotive ends. Such means establish compositional harmony and clarity in the service of expression.
Through this approach I hope to achieve the intimacy of a measured poetry, a reflective understanding of life and our desires held in common so often lacking in the contemporary menagerie.