WORKS ON PAPER
These compressed-charcoal figure drawings have been the reference point
of my work for 37 years, and are something of a meditational practice.
Their execution requires full-body movement and extremely clear focus:
The figure's placement on the page, often breaking the frame, is essential.
Negative space is the Light; each deep black mark is the Darkness. They
Large watercolors, appearing here soon, are the bridge between the
drawings and paintings.
There is also a dance between figurative and abstract painting, between
exploring and celebrating the frankness of that-which-I-find-before-me
and exploring more theoretical aspects of experience and people. I make
this work to be educated.
The divine geometry of relationship intrigues, whether it's the complex
dynamic between two persons or the way a wrist whispers to the shin
it's laid across, even while calling to the opposite armpit.
IN THE GARDEN SERIES
One ongoing series is called "In The Garden". Many of the
forms are botanical, many abstract. In The Garden means On The Planet
With the exception of the big Lament triptych, these are painted with
fingers rather than brushes.
In 1993 I found my way to a naturist camp in France for 2 months, a
figure painter's dream. There began the Venus Series, an ongoing exploration
of the concept of the Feminine in our culture, looking at Venus "backstage",
or in the rain... this too is Venus, the real woman behind the myth,
a send-up of the time (is it gone?) in which all women were required
to be Venus.
Rather than the idealized form of female nudes in Art through history,
in this world Venus is Everywoman.
There is a longstanding fascination with portrait painting (coming soon
to this site), which I do on commission, from life. There is an evolution
of the sitter that happens concurrent with the evolution of the painting,
over the course of about one month. References upon request.