While investigating what is mysterious and timeless I rely on a visual vocabulary of abstraction, pattern, texture, nuance, and color. The shapes and spaces I work with are my way into the active form of meditation inherent in my ongoing painting practice. Meditation and painting share a boundary while connecting without a break. This is my entry point into what is timeless.
As works develop, marks, shapes, surfaces and color relationships - the elements of an oblique,
pre-verbal language - coalesce, giving form to feeling, sensations, and states of being before
they are verbalized.
I focus on numerous works at a time in concert with my intuition. Titles refer to geographical and geological terminology and are analogous to the physical properties and effects created by the materials I work with. Here, too, there are ongoing connections.
In Spring 2017 I attended the Lake Residency offered through the Morris Graves Foundation. One artist at a time resides and works in Morris Graves’ studio in an isolated, natural setting. No electronic gadgets are allowed, including cameras and cell phones. I was immediately immersed in 18 days of solitude, keen observations of the life cycles taking place in nature, ample work space, and time to be and think deeply.
In my case this was a return to the Pacific Northwest, the terrain in which my love of the natural world began. I had the luxury of following uninterrupted thoughts about what endures outside humanmade time as well as the reality that the visible world is only a part of all there is. Before my departure I was for the first time at peace with a deeper dimension that I have steadily infused into my drawings and paintings. They have always had a spiritual undertone that attempts to touch on what is universal.
Back in the studio I embrace this deeper voice beneath the surface. Indications of new possibilities, subliminal information, and notations of the ineffable surface with the development of each drawing and painting.
In these paintings I have introduced collage elements that include images and pieces of older works which I have either torn or cut up. Past and present segments of my vocabulary augment the development of clearly tactile surfaces. This combination of visual vocabulary in sync with accepting more of what my work embodies is analogous to discovering a new signpost along the way. On it, pieces of information and potential directions focus on a greater integration of what is enduring and timeless.
I am interested in the mysterious nature of what endures, both within an internal landscape and in the natural world. Continually there are shifts, transformations, and subsequent restructurings taking place; some are obvious while others are subtle, sometimes barely visible.
In this series I am once again not interested in making sure everything throughout a drawing or painting follows a certain line of logic or set of rules. During the past several years I've become increasingly fascinated by various shapes that can be considered vessels of one kind or another. I am compelled by the many ways it is possible to contain, hold, or transport something of meaning or value. The vessel as metaphor also connotes how vast, rich, and deep our interior lives are.
My earlier hybrid form of picture making still appears in the work. Overall, abstraction continues
to be my way into a visual vocabulary that has no need to define and pin down what remains mysterious.