My line is primal but not primitive. I admire the commitment to origins by Cy Twombly, the playful freedom of Paul Klee and the spiritual underpinnings of Kandinsky. My lines are achieved by projecting myself into the essentialness of the individual line and imagining the first line ever drawn. The line has to be felt and followed.
Much of my work is a direct reflection of, response to, and re-working of images from our ancient past . Inspirations come from prehistory, early belief systems, pictographs and impulse graffiti.
I want to merge the seemingly indecipherable history of the obscure past with my own sensual and emotional responses to it as I study and learn about human nature. In both the content and process of my art, I am interested in the global layering of time and history, of painting and drawing and of various meanings and associations. My art places itself in the context of the history of civilization as well as the process-oriented aspects of Abstract Expressionism.
I am also interested in illuminating the process of writing through line based compositions, often inspired by the almost universal linear forms of handwriting or the complexity of weavings. As I work subtle narratives that lay beneath the surface of an image are revealed to my imagination as they are to the mind of the viewer.
The primal line and exuberant color continues to represent the essence of my art.
The texture of the paper is important. As the ruling pen is dragged across the surface the line takes on an active presence. The geometrics imagine worlds.