My artwork takes time, time to create and time to see. In our media oriented society where the 30 second sound byte defines our attention span, I want to create a place for study and contemplation, where time is limitless. I ask a great deal of my audience.
For many years, I have been exploring the concepts of still life, an area I have found hardly still, but rather filled with animation. My work portrays the way light passes over and through an object, the interaction of one pattern against another, the play of reflections within and between animate and inanimate objects.
I am a perceptual realist and consider myself an illusionist. I paint what I see. My vision is grounded in the depiction of light; how light creates color and weight while defining space and pattern. This continuing study has encouraged me to compose crowd scenes of bottles, animal and insect playgrounds and fields of marbles. In order to create the illusions of fantastic space my still life compositions are elaborately constructed. I need to observe the interactions of my objects in real time. To accomplish this end, I discovered a way of suspending my subjects by using different levels of plexiglass. For example, in the set up for Entering the Web, I looked through three levels of plexiglass. On the top level are the flying insects, the middle level has the marbles and animals caught in the web.
The effect: some objects fly high above the vortex of yellow or blue light as others are caught and suspended in an intricate spiders web while still more objects lay in the atmosphere of a blue or yellow field at the edges of the spiral. Is there a magnetic pull into the light or are the objects exploding out of it? This is for the viewer to decide.
I invite my audience to enter a dense visual world, to come back to each work again and again, to see more.