intro -- about


                                

overpass series   44"x40

 

When deciding to become an artist I chose independence in a small southern city where rent was reasonable and I could develop my own vision without scrutiny or criticism. I had chosen to pursue art for the coordination of hand and eye and the linking of intention with an immediate result, a solely personal quest. Various occupations in support of home and studio, from line assembly to product design, all required direct engagement with physical reality as well as common purpose with others, and a representational mode of expression just seemed natural.

When I began referential art of any sort was considered retrograde and dumb. I was routinely excluded from area competitions and gallery programs, and there was literally no opportunity to even have the work seen by the public. Over the years I’ve made a practice of cultivating alternative venues mostly for the experience of presenting the work, obviously without official affirmation. Along comes this multi-layered social turbulence fragmenting our concept of the world, and images which directly address our shared sense of reality are beginning to appeal to a common mind seeking personal verification as well as mutual understanding, factors making my paintings finally visible.
                                                                                                                     
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My first objective as a visual artist is to create an image that overcomes an ever increasing attention
threshold to impinge on consciousness each time it’s seen. My technique derives from ten years I spent sreenprinting, using single color stencils to construct images. I paint with just the three primaries one at a time, each reduced to transparency in clear medium and applied in layers with secondary colors mixing on the canvas back to front. A back-lit luminosity is achieved using very small amounts of pigment and finished surfaces are waxy smooth with apparent surface depth. I choose mostly mundane and unattended subjects to enter through a side door of common memory, presenting a slice of daily experience more believable and tangibly present than photo-accuracy.