I am making “The Brain Injury Project.” These are paintings and drawing of former NFL players, including former Viking, Matt Blair, who are dealing with the effects of thousands of concussions. These were sustained while contributing to championship teams. These players and their families are proud of the fist full of super bowl and hall of fame rings. They were heroes on the field and now, as they suffer from worsening illness such as severe dementia, we see a new kind of heroism. This story, that is bigger than me, also touches on racism and sexism. I hope to offer a unique creative voice to this massive story.
I make art from my heart because I think you change the world through art. I hope to draw the viewer in and maybe stimulate some compassion. I am interested in all aspects of social justice and paint my heart out trying to affect positive, thoughtful, nonviolent, loving change.
Images submitted are part of a current series, Natural History, which represents layers, transitions and adaptations in physical and non-physical realms. The works begin with explicit (geologic=material) forms which are merely the outward surface appearance of contained and ongoing dynamic processes, often from unseen sources. It is from deep below the surface that forces are constantly shaping these outward appearances. Once exposed, effects of other, external forces, continue to shape the forms. They are not static. These are layers that comprise the form’s experience over time. The organic elements in the works (fish, shell, moth) represent the spiritual element in its own state of growth and adaptation. Subject to other types of deep, unseen and ongoing forces, the invisible, non-material self continues to respond in its own way in order to survive and persevere in the world. As such it is also constantly in its own state of transition and becoming.
I work with vintage cameras and black and white film to give my photographs a flavor that I believe is lost with the unnaturally flawless images produced by modern digital equipment.
My process is carefully placed ink on paper. Simple black and white used to create line, form, and movement. My goal is beauty.
The choice to be an artist is a strictly selfish one on my part. Creativity is an addiction to me and I have designed my life around the ability to do it. My wish is that something in what I do has been, is, and will continue to be a contribution to society that in some small (or large) way enhances the world around me. Through the act of creating I find a sense of purpose and direction in my life that otherwise might manifest itself in states of anxiety, depression and other challenging emotions that would hold me back instead of thrusting me forward. Although every idea doesn’t get realized, every work of art that I produce is a journey and an adventure, and of the end result, it is the process of bringing something to life that brings satisfaction.
My appreciation for the beauty in the natural world likely dates back to hiking with my parents as a child. They taught me to see the magic in nature, to appreciate what the Earth has to offer, to experience the details. I literally stop in my tracks when I see something I find beautiful: the curl of a leaf, a shadow on a wall that others fail to notice. That appreciation has allowed me to create an abstract, unusual body of work to which my viewers genuinely respond. Details,in general, inspire me to shoot. I find unexpected beauty in the nuances of man-made, architectural structures, & I experience them in beautiful segments more so than as a whole. I learned using film &, though I’ve switched to digital,I still shoot manually & in natural light.I give my audience what I see when I shoot, w/out manipulation in PS. In a world where we often find ourselves overwhelmed with the ugly, there is so much beauty that we overlook; I try to focus on the beauty in the small details in this life.
My recent and current work can be thought of as still life painting, the most abstract of representational genres. The subjects are clothing and bed-clothes, seen in close-up, often only fragmented, emphasizing details of texture, but not always explicitly identifiable. Making a still life arrangement is very similar to making an abstract sculpture or assemblage. Sometimes I have been interested in accidental arrangements, but most often the arrangements are deliberate and considered. Because my subjects are textiles and they are painted on canvas, there is a kind of visual punning of painting illusionary fabric on real fabric.