Koi Pond, 2004 - 36 x 72"
The paintings in this series are composed of abstract, nonrepresentational hard-edged forms that suggest a feeling, mood, or energy associated with one of life’s random captured moments.
Structurally, these hard-edge acrylic paintings use carefully mixed solid colors to create an illusion of transparent overlapping planes suggesting depth and multiple layering while adhering to the flat two dimensionality of the canvas.
Compositionally, each layer of color acts independently of the others, has its own characteristics, and contributes to a greater or lesser degree to the final composition. I compare these layers to the various themes that make up our lives – work, relationships, play, etc. – each a story in itself that combined together, make up this package deal we call our lives. Many random lives together = a culture, many cultures together = the world. My paintings seek to represent any moment along the life/culture/world continuum that is captured or distilled into a single “snapshot,” where one dominant feeling, mood or energy is represented.
|Historically, hard-edge painting was a mid-century phenomenon that emerged partially as a reaction to abstract expressionism. Compositionally the paintings were composed of simple, easy-to understand forms. Concurrently, the simple NBC peacock logo with its sharply delineated rainbow colors that symbolized the excitement of the first color televisions (technicolor!) comes to mind as one of the mass media’s dominant images of the time.
Today, technology has conditioned us to an ever-increasing complexity in visual imagery. Picture the continually changing background graphics, overlapping and moving about as you watch CNBC. As a graphic designer I cannot help but be influenced by this in how I structure my paintings. Essentially, my paintings may be seen as a form of reverse technology: a complex electronic image, deconstructed into its components, and reconstructed into a hand-made, one-of-a-kind 21st century interpretation of hard-edge painting.