My art is deeply influenced by expressionism. First, the German Expressionists and Surrealists and subsequently the broad spectrum of art centered on the Abstract Expressionists were influences. These artists attracted my taste in art and thus affect much of my artistic impulse.
There are a number of branches to my art and for the sake of gallery discussion I will constrain the discussion to sculpture and painting.
My primary sculpture initiative has a number of historical precedents. Materially, the raw elements are largely found earth or nature objects. The objects become a sculpture through the metamorphosis of the assemblages.
The sculptures rarely involve any additive or subtractive activity affecting the found objects. The assembled objects can be either static and reasonably immutable or temporal and cognizant impermanence.
All of these sculptures (The Ashford Stonefield sculptures) are outdoors and permanently located at 451 Perry Hill Rd, Ashford, CT.
The sculptures are captured as digital prints that are artist signed and limited to 100 prints per image. The digital prints are the gallery entries, not the sculptures themselves as of 2008. These are extremely reasonably priced pieces.
My paintings branch into a number of themes. These can be watercolors, tempura gouache, or acrylics.
One theme is a series of paintings that are lively interpretation of the Old Testament's poetic version of Genesis. The key concept that the world was blown into existence by "The Breath of God" is the conceptual framework for these paintings. These paintings are sometimes titled using the abbreviation of BoG_*title*.
A second series of Biblical paintings examine the New Testament's relationship of Yahweh to Mary and are descriptively labeled as such.
A third series re-imagines the Menorah.
Other paintings include a series of mystery paintings that invite the viewer to create the narrative that explains the story embedded within the image, for example, "The Horse Thief" and "Rod Serling's Last Dream".
Of course there are plenty of miscellaneous subject paintings that emerge aside from the thematic ones.
My treatment of seemingly religious subjects are interpreted as mythological themes that can transcend their strict orthodox origins to subconsciously inquire of the viewer a deeper question about our relationship to the spiritual images depicted.
Likewise the techniques employed in creating the imagery are a post-modern pastiche of traditional styles that are intended to break new ground in their recombinant states. Astute viewers will observe that the painterly techniques are employed to violate the philosophical constraints of their original practitioners in the scale of painting the reverse veiling of subject/non-subject matter and so on. In other words what may "look like" imitative technique is used as a visual bait-and-switch of preconceived notions about the art of the retinue such as mine.
Numerous paintings and artifacts are owned by private collectors.