I have been strongly influenced by the great modernist painters of the 50’ and 60’s including those proponents of the minimal/color field schools especially Agnes Martin, but also Clifford Still, Barnett Newman, Marc Rothko. The turn to collage in my work has many contemporary influences but there is also a deep reflection of my admiration for Jasper Johns and Robert Rauschenberg will always be a hero of mine.
The many influences from all of my “looking at pictures of pictures” are secondary to what appears to be a preoccupation with the meaning found in the “Silent space” and “peace”, in all of its many meanings and contextual forms most notably the peace of accepting that things are often not peaceful. There also appears in this work a deep pull to the silence of memory, the aged, the worn, and the image that has been silenced by time. Layered and monotone in nature the work is homage to stillness, and the process of coming to that place. It is a slow, evolution to the removal of the predominance of color and mark, a quieting, if you will, when it seems like “not saying” is the most important thing to say.
Often utterly minimal is aspect these works are reflective of my own as well as what I perceive as a cultural turning to inner contemplative silence, a deep longing for quiet both within and without. There is a reflection of a deep longing for order amidst the ongoing and ever increasing violence and chaos. The feud between enthalpy and entropy lives here in this work in the ordered shapes and their faded patina.
There is a fascination for me in the process of making this work, and a challenge for the viewer, to simply be with what is before you without asking anything from it; to allow the work to give you what is has and to simply show you your own reaction to being there, quietly.
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