Artist's Statement

Over the years my painting has spanned a number of styles. Most recently I have been interested in the combination of the hard-edged, other-worldly formality of the geometric figure, with the soft-edged informality of the natural world. 

 

This tension between the soft form and the hard edge or the natural and the formal, may be extended to a similar tension between the finite and the infinite, or, in Plato’s terms, the earthly realm of coming to be and passing away, and the eternal realm of Forms. 

 

Geometric constructions often convey a sense of discovery, of being in the presence of something significant, or on the threshold of a complex world of things not well understood. Using gold and ferrous leaf with these figures often heightens this feeling and adds a rich alchemical dimension.

The first time I constructed a logarithmic spiral from the Golden Ratio rectangle, I found myself seriously considering the mysterious connection between nature and geometry and Wigner's "unreasonable effectiveness of mathematics in the natural sciences."   Pythagorus’ claim that “all is number” became less strange and I shared his conviction that there was a secret here, that somehow or another, number and geometry were windows to another reality that lay behind our everyday world.

In addition to Pythagoras, my work has been enriched and inspired by the geometric explorations of everyone from Archimedes, Euclid, Hippocrates of Chios, and Fibonacci, to Leonardo, De Vries, Euler, and Gauss. And as a self-taught painter, my work has been influenced by Tanguy, Magritte, Escher and every other artist I have ever seen or read about.

While those paintings with sky, water, mountains, clouds and insects offer the viewer familiar access and often evoke feelings of calm, serenity or the infinite, the occasional juxtaposition of space and object or the alteration of horizon and perspective, provide a different and perhaps less accessible dimension than the customary interpretation of "the real."

My intention has been to avoid, as much as possible, cognitive contrivance and the domination of linear thinking and to elicit more complex responses on both a conscious and unconscious level. I have tried to accomplish this by presenting images and situations where immediate recognition and cursory viewing are insufficient to fully engage with the visual material. 

Thus, each painting leaves work to be done and invites the artistic and interpretive participation of the viewer. 

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