My art - abstract ink drawings - will attract at first sight, then keep you as the eye travels along one line or wallows in a pool of vibrating colors or jumps over an optical illusion to continue the visual journey along a new path or plane. The viewer may start comparing notes with a friend, stranger - or the artist(!) - looking at the same picture.
I have drawn, doodled, sketched for decades, using any surface and any marking utensil any time my hands would be idle. But, there was something different about these pieces: people were intrigued by them, took time to study them, asked if there were more, called them “treasures,” said, “that’s not just a doodle!”
So, I started drawing these “treasures” with the intention of creating finished works of art, still starting at that same subconscious level that the treasures were drawn. The aim became to make them bigger, to make them more accessible to the viewer, meeting the viewer full size as though meeting another person or spirit, a visual communication from one subconsicous to another. During this transition, these drawings also became colorful, finished, showable. The treasures are now in a new environment created by the subconscious.
Over the years, while pushing their sizes and varying their surfaces and mediums, they’ve become more complicated, more intricate, more enigmatic, and have been used to explore journeys of motion and time on their two-dimensional plane.
More recently, I’ve been working with what I call segues: several panels of drawings, each standing alone, but connect to one another by way of shapes, lines, inserted materials that connect across surface edges. Some segues are made up of a group of windows that house the connected meanderings on a single panel.
I have also long been intrigued with the found object, especially when found out of context to the environment in which it was found. I insert that object into another foreign field: my drawings. These non-sequiturs are placed stragetically to serve as tools of the segue: to continue the drawing or to punctuate it. Put another way: they guide the viewer’s eye to stop, turn, retrace amongst the other elements of the drawing.
The grown-up doodles are informed by the art of the Constructivists, the automatic drawing games of the Surrealists, the whimsy of Paul Klee.
The use of found objects can easily be traced as much to the art of Dada, the sculptures of Picasso and Bertrand Lavier, as to household surprises like the teen’s drumstick in the laundry or aging parents’ keys in the freezer.
Those tiny, idle doodles of yore are still growing: exploring new dimensions, literally, as they take flight off of the concrete surface; make use of translucent surfaces; incorporate and/or respond to more ephemeral materials such as light, shadow, reflection.