The Artist's Method

In ink on paper I surface my inner reflections of the moment, spontaneously expressing thoughts and feelings far outside of my conscious awareness. My state of being is mindfully open and receptive; my exploration is unrestrained and undirected. The tool in my hand moves without guidance or limits of pace or time—a process that may be fast or slow, take only a few minutes or require hours over a period of days.

What appears on paper evolves into a type of personal travel itinerary. I am taken on associated voyages of images, memories, senses, and emotions that simultaneously both inform the artwork and dictate the code and technique for its rendering. The base with which I proceed may be the entirety or an extracted piece of what has arisen.

My immersion in discovery is total. Layers and layers of dimensions are added to and subtracted from the base: Other mediums—acrylics, oils, water—may be introduced, mixed, or blended. Shapes and forms may be sharpened or softened, given definition and brought forward or muted and made obscure. My tools are eclectic and unconventional: knives, spatulas, sticks, pipettes, sponges, squeegees, spray bottles—whatever might best achieve results. My techniques are equally varied and atypical, many of them borrowed and adapted from my creative experiences in sculpture, plastic arts, painting, pottery, and theatre. I fully engage both with and in my work; touch and movement especially are key essentials to my processes and their outcomes.

Eventually revealed to me from within the strata of seeming chaos is a wondrously evocative textured and dynamic world of compelling characters and environments—some familiar and born of the recognizable past; others foreign and perhaps telling of the unknown future.