I create paintings with a collage sensibility. They are informed by an ongoing investigation into the effects of color and form in various states of collision
on the picture plane. It is an idealist, modernist interest that has manifested as a non-referential, rhythmic, geometric abstraction.
Structured figure/ground relationships explore the push-pull of form and color in the space within the edges of the rectangle.
Here I am viscerally exploring how painting and collage can formally work together. Each new concept is an immersion in shifting planes
and forms that afford limitless experimentation in which I attempt to mine the dual role that color can play both as content and as structure.
The work has a dynamic, haptic quality, as if one could reach in and shift, reposition or rearrange the layers within the frame.
Saturated flat color fields are layered and shuffled in degrees of reveal to float above or recede beneath the picture plane.
I disrupt and concretize the immaculate color fields of the composition through scraped and incised marks on the picture surface.
This reveals the layers beneath so that the final image is not only the outcome of a sequencing of flat layers but also has painterly gestural qualities.
The resulting work is a freeze frame of a kinetic procedure. Thrill is won in the seeking of an image and the realization of it in my attempt to impose order
on fluid chaos, finding a way to the final image by puzzling through it, leaving behind evidence of execution.
While the work is formally intuitive, it is calculated in its design and plotting, playing juxtaposed elements and relational situations
against one another in the layering and building of the planar surfaces. This is the continuation of a utopian fascination with color-as-form
that began in my childhood, and which continued to inspire through my discovery of the revelatory work of the Russian avant-garde,
the De Stijl group, the Bauhaus, and the Polish constructivists Strzemiński & Kobro.