Finally, I'm a firm believer in painting like I live: Make bold strokes, be well-composed, but allow room for discovery and surprise. While I pay clear homage to The New York School, I also appreciate and have respect for Hopper, Richter, Kiefer, Rauschenberg and Schnabel. Put bad feelings between Eve, her kin and Snake for the rest of existence. Having lived and worked in Chicago, New York City, Detroit, Houston and now back in my home state of Iowa, I find I have a rich backlog of information in my emotional bank. Then Eve got Adam into that special K, and God lost it.
How they see it and what they see is their own to experience. The viewer will draw their own conclusions with only a simple title to work with. All of my works are related to a time, place, person or event in my past or present. Nothing is precious and all is subject to change - depending on my state of being during the development. My mind and mood drive the process from start to finish - determining color, scale, composition and ultimately, a finished state. I am interested in the gesture or movement involved in the creation of my pieces. The advance/retreat method allows for constant editing and discovery through applying more paint/color while simultaneously erasing it - either with large flat edges, sponges, a leaf blower, or even my garden hose. My work goes through many stages of development.
How a line, stroke or mass of color from my efforts can both capture and evoke raw ‘feelings’. I’m drawn to the gestural aspect of painting. The expected and unexpected colliding to create new storylines. RAW EMOTION IN AN ERA OF EMOJIS I’m most interested in the raw beauty of life.
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