I have always been influenced by, and looked in admiration at the development of formalist abstract painting, from the naturalist spiritualism of Mondrian to the design oriented Gene Davis. I try to remain accepting of the graphic influence readily found in
the world I inhabit.
My work is a furthering of the art of stripe painting. My chosen style
is a sort of collection of characteristics of the visual aesthetics, physical processes, and history of formalist painting, that I prefer. For the most part, I keep a literalist sensibility
about my work.
Developing variations which hold individuality within the family of my
work offers an exciting variety within a closed structure. I find the stripe structure allows for a wide range of expressive reading. Although I might have specific feelings or associations, the expressive content of any given piece is open to interpretation.
I develop these variations while taking into account what came before. Lineage slowly develop as the family grows. I feel that attempting, or remaining open to understanding the world in a synesthesiatic sense helps inform sensibility. Sound and music are, and will always be, a source of inspiration and derivation.
My experience with the guitar has become a guiding source of insight. The affecting role of governing systems to visual outcome is a
continuing interest, questioned and examined in process.
Source material and content can
be derived from various sources. These so called guiding systems admit certain degrees of expected indeterminacy while the painting is carried out. Many works do not involve a system, welcoming direct painting.
The aid of computer generated drawing is also employed. In process, the mess-up and goof-up is seen as possible asset, which might
very well lead the way to another valueable insight.
Repetition has long been a valued
element of my work, and draws me to a ritualistic understanding of painting.