intro

I’ve always been fascinated with jazz and the ability to articulate an individual statement by improvising on music everyone knows already, eight to ten pieces by Duke Ellington primarily. Familiar subjects, even mundane and unnoticed, are chosen to become the melody, the modulator, the carrier wave for comment and conversation. Rather than depict the world 'as it is,' the attempt is made to reverse engineer the mechanisms of sight, rendering an image more tangibly present than photo accuracy, and more viscerally 'believable' with time and exposure. 
 
                                                        yellow truck, 40"x44  


background:  I chose art for directly converting thought immediately into material form, and for establishing a connection between the mind and hand, winching myself slowly toward the present moment. I assumed a path to professional status to be open, having read about artists I admired, but without having actually known any. I attended studio classes at two universities, but had also studied philosophy, and came to question several of the underlying premises of modern aesthetic doctrine.

Deciding to find my own way, I began with a book on Cezanne and a stack of hobby-store canvas boards, and over several months worked through a successive chronology of styles up to a form known as ‘synthetic cubism,’ when I began to find my own voice. I was beginning to understand that painting, without its overlay of momentary orthodoxy, confronts the equivalent of an unguarded gate, one entered by mimicking some past experience of the viewer.

At that time, simply for choosing a representational mode I found myself automatically ineligible for grants, acceptance in competitions, or recognition of any kind. Surprised at first at this stonewall exclusion, I finally withdrew to the studio and continued to paint, subsidized by whatever occupation was handy, industrial production for wages to product design, experiences which substantially reinforced my commitment to directly address perceived reality.

   
Without an officially sanctioned way forward, I’ve made efforts to engage a public directly, hanging in restaurants and professional offices, producing a window gallery featuring several artists, and currently maintain two rotating exhibits in public locations. I also intend to announce limited hours for a small exhibition space adjacent to my studio sometime soon.