The impetus for this current body of work began a couple of years ago after I read a piece by the poet, Carl Phillips. The simple poem seemingly based on trees, became the jumping off point, not only because of the narrative expressed, but also because the structure and rhythm of the piece resonated with me. After countless readings of this poem, the idea of landscape and the body became a rehearsal for the notion of temporality.
I grew up in a time when the idea of a work of art having an autonomous life was still viable. The idea was to make something, which instead of pointing to an experience became the experience itself. It’s the unknown and the surprise within the painting that interests me as well as the realization of the painting both as a metaphor and as a physical reality. From looking at paintings and identifying with the material process, I believe you have to feel that your “self” is capable of being expressed through paint. Music and poetry have always played a role in that process, like parallel mediums. As in life and in art, we find equivalents for feelings. For myself, painting is a way of writing a poem and through timbre, rhythm, and with managed intervals of line and gesture, all these “notes” become parts of the painting’s grammar.
Here are some examples of his work.