How, in this age, can a painting still move us? How can it engage us, invite an exchange, penetrate our space, prime our senses and affect an understanding of our world and ourselves? I believe that a painting can project beyond itself by creating a pictorial environment in which the viewer and the work are joined in a specific moment of awareness. Through the paintings’ language and the use of imaginative processes, I craft these paintings to speak of sensation, feeling and the way we see. The works are informed by my interest in physics, abstraction, ecology, and ideas concerning beauty.
Pulse paintings are at once lively and meditative—a catalyst for the senses and a window to one’s interior world. The pigments are selected for their sensuous, interactive surfaces that refract light and shift in color or depth as the light changes or as the viewer’s point of view changes. Because they suggest a complexity and order found only in nature, the viewer questions what is real and what is not. Their abstract nature challenges our preconceptions and stirs feeling and memory. New ideas are formed as we examine what we see through how we see. In a hurried world, these pieces make us stop and pay attention.
I believe that materials and processes transport ideas. To achieve my goals, I craft the paint myself using powdered mica pigment and PVA (archival white glue binder). I make and use unusual tools instead of brushes. These obscure the presence of the hand and to allow the process to inform the image. After extensive preparation, each piece is completed in one session and cannot be reworked. The cinematic movement of color, light, and form suggests ebb and flow between nature and artifice, spirit and matter, and the reductive and the maximal. The paintings evoke sensibilities reminiscent of baroque play of light and Asian art. An underlying rhythm runs through the work, like a heart beat, assuring us that painting lives.