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Throughout my career, I have have produce works that are surprising, original and playful which rely on invention rather than appropriation. Exploring varied concepts through the creation of new forms, these works may question themes regarding diversity, visual kinetics, identity, object pairings or more narrative ideas pertaining to the concrete world. 

I began producing multi-piece stretched canvas works as early as 1992. These early works were experiments in a type of minimalist painting that I referred to as Dimensional Paintings. Initially searching for different ways to create object-based wall installations using oil on canvas, these diptychs and triptychs offered variable dimensions, lighting considerations and a technique to express painting as objects with organic, kinetic and somewhat character-like characteristics. 


Shaped canvas works have been present since the 1960s with examples from the Postwar New York School, Charles Hinman, Ellsworth Kelly, Frank Stella, Agostino Bonalum and others. My first body of work titled Vertebrate Companions has 43 unique examples to date. Over the years it became evident that many other concept related ideas were possible. These works also responded to forward architectural practices such as the works of Zaha Hadid. What I produce is non genre specific works that are not necessarily conclusive but provoke open-ended conversations concerning future perceptions of form, beauty, communication and joy. 


While the birth of minimalism, conceptualism and installation was a starting point, these works differ. I have stepped away from the formalized conceptualism of that time and taken the above-mentioned disciplines to create a more biomorphic and at times anthropomorphic approach that communicates various conceptual idealisms. These concept dependent works have become more than just studies in color and form which cross the line between painting, sculpture, installation and architecture. 


To ensure invention I rely on the unconscious mind and a form of Cage’s Chance Operations, which has much to offer. This practice is not reliant on our learned awareness nor what we believe to be correct through history. To begin production, after a concept has been decided, I perform a type of meditation that clears my mind of my preconceived notions of geometry. I then create viscerally from a first notion in search for unrealized forms or uncommon pairings that could possibly imitate life in its irregularity. I refer to this process as Unconscious Geometry.


I have also been awarded public art commissions that are considerably larger in scale. These public works were created from smaller stretched canvas maquettes then reproduced using laminated fiberglass with stainless steel armatures or cast from lost plaster molds. They are then painted with high UV resistant bi-component polyurethane paints and clear-coats to endure even the harshest weather conditions. 


Being a visual artist, my works draw attention through their unusual forms, placement and specific line and color considerations. In regard to color and form choices, I rely on what I refer to as signalling and color science rather than basing my choices on my personal aesthetic which communicates more universally. This process is based on the viewers emotional, cultural, psychological, historical experience or that of modern color science. I generally work in a chronologically numbered series recognizing that linear research seems to bear more discoveries while telling the evolutionary story.