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About

About

This series of work is a response to what I learned about my art after creating a website; posting much of what I’ve created during the past 30 y… Read More
This series of work is a response to what I learned about my art after creating a website; posting much of what I’ve created during the past 30 years. Seeing it all for the first time in one place inspired me to take on the challenge of translating the reoccurring aesthetics, methods, and concepts that I’ve previously explored into a new visual form. I discovered that while my style has evolved or been purposely adjusted to communicate a specific aspect of the subject matter, the perspectives that spawned the work haven’t shifted dramatically. There are a core set of themes or ideas that seem to re-emerge in many of my series, including: our live's imposed appearance as a narrative and our futile search for answers; the apparent need by humankind to measure and turn everything into a symbol; the encroachment of polling, surveillance, technology and urbanization on how we think; the power we invest in mementos; the hazardous intersections of science, commerce and politics; what is real and what is not; how does one poetically describe a life lived in the paradox that is the human condition. I’m not generally a rear-view mirror kind of guy. I tend to be engaged in the present and create art based on current events I’m experiencing and thinking about during the time I’m making it. But, time has always been an active element in all of my work. Just as I think in metaphor, comparing the subject in a time-shifted context to its previous experience stand-in, I like to play with the perceived timeframe of when the work appears to have been made. To contribute to a conversation in a constructive way one needs to know what has previously been said, referencing the subject as you advance the train of thought in a new direction, even when you’re talking to yourself. The many values of gray in this digitally created series is a metaphor for my non-linear “Multiverse” world view. Additionally, it references what most perceive as the past, just as the burnt orange patina of varnish does in my paintings, making time and memory a more conspicuous element in what I'm trying to communicate and how the work is perceived. By limiting my palette, I hope to accentuate both the dream-like quality of the imagery as well as the work’s ambient complexity. Photographs used in the series were captured by the artist in: Vienna (Austria), Munich (Germany), Tokyo and Kyoto (Japan), Baltimore - Maryland, Hawaiʻi Volcanoes National Park, and in the artist’s studio in Alexandria - Virginia (USA). Read Less
Published:
                  People prefer the intentional errors for which there is no desire to fix. We want 
                  to believe that we all perceive things in the same way. We want to believe that 
                  life occasionally makes sense. We want to believe in right and wrong. The list 
                  goes on and on. The paradox is that the construct we call truth is like beauty 
                  and perfection… it doesn't exist. There are no constants, except that we all 
                  will continue to be confused and create elaborate worlds inside our heads that 
                  have no basis in reality.
This series of work is a response to what I learned about my art after creating a website; posting much of what I’ve created during the past 30 years. Seeing it all for the first time in one place inspired me to take on the challenge of translating the reoccurring aesthetics, methods, and concepts that I’ve previously explored into a new visual form. I discovered that while my style has evolved or been purposely adjusted to communicate a specific aspect of the subject matter, the perspectives that spawned the work haven’t shifted dramatically. There are a core set of themes or ideas that seem to re-emerge in many of my series, including: our live's imposed appearance as a narrative and our futile search for answers; the apparent need by humankind to measure and turn everything into a symbol; the encroachment of polling, surveillance, technology and urbanization on how we think; the power we invest in mementos; the hazardous intersections of science, commerce and politics; what is real and what is not; how does one poetically describe a life lived in the paradox that is the human condition.
 
I’m not generally a rear-view mirror kind of guy. I tend to be engaged in the present and create art based on current events I’m experiencing and thinking about during the time I’m making it. But, time has always been an active element in all of my work. Just as I think in metaphor, comparing the subject in a time-shifted context to its previous experience stand-in, I like to play with the perceived timeframe of when the work appears to have been made. To contribute to a conversation in a constructive way one needs to know what has previously been said, referencing the subject as you advance the train of thought in a new direction, even when you’re talking to yourself.
 
The many values of gray in this digitally created series is a metaphor for my non-linear “Multiverse” world view. Additionally, it references what most perceive as the past, just as the burnt orange patina of varnish does in my paintings, making time and memory a more conspicuous element in what I'm trying to communicate and how the work is perceived. By limiting my palette, I hope to accentuate both the dream-like quality of the imagery as well as the work’s ambient complexity.
Detail: #ERROR57.06, 2014, (click image to zoom).
Detail: #ERROR57.07, 2014, (click image to zoom).
Detail: #ERROR57.02, 2014, (click image to zoom).
Detail: #ERROR57.04, 2014, (click image to zoom).
Detail: #ERROR57.01, 2014, (click image to zoom).
Detail: #ERROR57.05, 2014, (click image to zoom).
Detail: #ERROR57.08, 2014, (click image to zoom).
Detail: #ERROR57.09, 2014, (click image to zoom).
Detail: #ERROR57.03, 2014, (click image to zoom).
Detail: #ERROR57.10, 2014, (click image to zoom).
ERROR57.10, Mural Proposal for the Grand Hall, Boca Museum of Art, Boca Raton, Florida, 2014, four-color printed wallpaper, dimensions TBD.