Tempter, 2005, 24' x 20", Oil on CanvasArtist Statement:
All art-making is a process of abstraction and distillation.
The choice to delve thoroughly into the visual language of abstraction
is one of conscious certainty. The nature of non-objective imagery is
to be oblique in content and to begin with questions, whereas the use
of symbolic/pictorial imagery delivers an implied didacticism.
Though this latter sort of work may, in fact be open-ended in meaning,
it begins with a narrative code that conveys particulars of information
in a more explicit fashion. This specificity is what precipitates the
inherent presence of didacticism and its related tendency toward the
creation of work that begins with a statement. Hence, it also implies a
structural power relationship that posits the artist as teacher or
enlightener and the viewer as the recipient of the wisdom of the
creator. The use of an abstract pictorial language is a formal
construct that in some ways attempts to negate this uneven relationship
by placing the artist and viewer side by side and the art-object into
the role of other.
My current work explores the manner in which intellectual constructs constantly shift as they contact the eddies and whirls of the stream of consciousness. The edges of this interaction, where so-called “gray areas” arise, hold a fascination for me. It is in this unmapped territory that definitions break down and the dynamics of abstract and intuitive thought begin. Forms move in and out of focus as ideas circulate through the mind.
The act of painting is a physical counterpart of this process of exploration and discovery. The organic nature of my work develops through a manipulation of paint and surface to reveal an image, offering information of a potential, rather than specific meaning with which viewers may engage in dialogue.