Current Work (Ink and Graphite Drawings on Drafting Film)
My art making comes out of a longing to come into full union with the source of all things. Some people may call this source God. Others would not. One of the themes in this work is the yearning for contemplative solitude. It is through contemplative solitude that we feel a true connectedness to the source of all things.
In these compositions there is a vast emptiness along with sparse imagery which creates a sense of lonesomeness. I use a good amount of negative space (area where there isn't anything drawn) and very little positive space (areas which contain drawing). The emptiness is just as important - in conveying meaning - as the positive space.
I also use asymmetrical symmetry. Asymmetrical symmetry means that the imagery is a little off balance or off center, but the sense of visual harmony is still maintained.
I want to show solitude in this work. Solitude is different from loneliness in that solitude is a peaceful state of being alone, whereas being lonely is a painful state of being alone. In these pieces, peacefulness is juxtaposed with loneliness. There is a solitary wolf or a solitary tree in relation to a community of birds. Being in community is the polar opposite of being in isolation. When community and isolation are placed in relation to each other there is a sense of emotional balance.
I also place imagery off in the distance, obscured by a fog. This shows that there is more out there that we yearn for. There are things out there that we want to comprehend but cannot, not in this lifetime.
My art is about the journey towards fulfillment through the the experience of loneliness, the experience of solitude and through connectedness with community.
My Abstract Work
Our minds may try to make sense out of unfamiliar abstract imagery by associating it with known realistic imagery. I take known images from the world and abstract them. I am interested in taking imagery from our memory and juxtaposing it with unfamiliar imagery. The mind may experience a sense of wonder when it is in the process of associating unknown imagery with known imagery. I try to elicit this sense of wonder not only by abstracting known images but also by juxtaposing abstracted imagery from the microscopic world with abstracted imagery from the macroscopic world.
My current work grew out of taking scanned images of small objects. I would then take one of those images and zoom into a small section. I would then take that small section and blow it up. The images became abstract because you couldn't see the entire object. A familiar image would become something foreign when viewed this closely.
I am interested in similar shapes, textures, patterns and forms which appear both on the microscopic level and on the macroscopic level. I try to make my work highly detailed so that the viewer has to take time in order to make sense of the details. I want the viewer to work at processing these images. The details may appear to be lines on the cellular scale or huge shapes and forms at the macro level, being looked at from miles away. I combine abstracted telescopic and satellite imagery with abstracted microscopic imagery and therefore the work may look like it spans across millimeters or across miles.
There is a shifting of perspective within the same piece of art. The images resemble but aren't completely representational. There is a shift from familiar representational imagery to abstract imagery. I am interested in how the same image can be familiar or unfamiliar depending on the perspective. The viewer has to work a little and the viewer uses her/his own experience of the world when viewing these images.