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.
Spring 2017 I attended the Lake Residency offered through the Morris Graves Foundation. One artist per residency resides and works in Morris Graves’ studio in an isolated, natural setting. No electronic gadgets are allowed. I was immediately immersed in 18 days of mostly being alone in an ample work space sitting on the edge of a lake six acres in size.
In my case it 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 and questions about my work and how it relates to what is timeless. Before long I was exploring much deeper thoughts about the reality of the visible world being part, rather than all, that is. By the time of my departure I was feeling a growing sense of peace with deeper dimensions that have steadily surfaced within my drawings and paintings. I came away with a new understanding of this spiritual undertone and how it relates to what is universal.
Back in the studio indications of new possibilities, subliminal visual information, and ineffable notations surface, now freer from my previous doubts over unusual juxtapositions in the work.
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 vocabulary augment the formation of clearly tactile surfaces. This combination, in sync with accepting more of what my work embodies, is analogous to finding new signposts along the way. Reconfigured visual information coalesces, signaling what endures outside measured time.
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.