The surface of a painting is a place to mine, to dig, to add to, and from which to subtract in the hopes of arriving at an image that is yet unknown. I find correlations between this activity as a painter to an analogous one of attempting to understand authenticity as a psychological state.
In my recent work, i’ve been using still life objects from my immediate natural environment as starting points for abstraction. Five years ago, I relocated from New York City, to South Lake Tahoe, CA - landscapes to be considered as polar opposites. This new series of work, titled, “High Country,” is evolving out of my exploration of this new topography, the new air and light, and the experience of living in the mountains as a contemporary artist and thinker.
For several years, I’ve used language as a visual code for thought that goes beyond standard comprehension to become meaningful as an image as well as text. The basic questions that have always driven my art making beg the conventional notions of internal vs. external landscapes. I am trying to find a way to blur these boundaries and create layers that more closely resemble the complicated ways we experience the world.