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"All art intuitively apprehends coming
changes in the collective unconsciousness."

— C. G. Jung


Artist's Statement
   
Writing this has been hard. I’d much rather be working with color, form, shape, texture, brush, palette knife, canvas--and images. Something happens when I begin to work with images. The world slips away and time, as well. 
"The more abstract is form, the more clear
and direct its appeal."

— Wassily Kandinsky

Philosophy  
I feel it’s my job as an artist to present you, the viewer, with works
  • • that have an integrity of their own,
  • • that have something to say
  • • that speak to you and
  • • that cause you to respond from within.
Images have a power of their own, just as words and music do. The subconscious speaks to us with images, as in dreams and memories. One might say images are its medium (pun intended). Its language is symbols. Many of my ideas for paintings originate as images that pop up during meditation.
 
Through artwork I attempt to tap into these streams and capture something of substance for me and I hope for you, the viewer.
 
"In some way or other we are part of a
single, all-embracing psyche, a single
'greatest man. . . .'"

— C. G. Jung

I strongly believe in a beneficent creator and evolving consciousness. With all our logic and verbalizations we limit ourselves. The world is far richer than we see it. I would like to expand horizons through my works.
 
I prefer abstract to representational art. Slavishly reproducing the details of the world is futile practice anymore, now that we have cameras. But if a work is too abstract there’s little to fix one’s attention. To me there’s a balance between showing too much and too little. Suggestion has more emotional depth than visual detail—except maybe for gore and pornography. A recognizable, but not well-defined form, invites the viewer to complete it.
 
In addition, meaning is important to me. I want to engage the viewer's mind, as well as her/his eye. In an image, meaning must be conveyed indirectly by means of symbols, color and tone, and the context of one’s culture.
 
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Background
When I went to high school I did a lot of artwork and planned to major in art in college, but it didn’t work out. For a long time I thought of myself as artistic and oriented toward fine arts. Then I went to work in an electronics manufacturing plant and started to study electronics. Soon I was back in college, studying physics. After earning my degree and working for a while (not as a physicist), life went dead on me. I couldn’t seem to get or hold a job.

So I tried starting my own business as a graphic artist (I felt I needed balance). That didn’t work well, but it did bring me back to doing “real” artwork with paint and canvas and whatever else I find that might be interesting to work with. I particularly like auto mirrors.

This feels more right.
 
Techniques 
I’m always trying to bring more light and sense of depth into my paintings–so I use a technique called chiaroscuro (key-är-uh-skoo’-ro). After setting up the painting with its light and dark values, I use transparent glazes to add color and depth. Often I add glass beads to the glaze to bring in more light. The result is the painting seems to glow.

"Where the spirit does not work with the
hand there is no art. "

— Leonardo da Vinci

Also, the glazes are smooth and flat, so I add texture and dimensional elements to the painting by adding resins, impasto buildups, sand, string, and other things. I like to experiment.
 
Specific Works 
Lucentia is a foray into 3-D and playing with planes for light and shadow effect, using sheet acrylic or "plexiglass." It was fun, but I’ve returned to painting for the time being because this media seems to have more potential for presenting ideas and meaningful content. Also, right now I have a lot of ideas for paintings to do.
 
"Lucentia-LED 1: String Effects" is a lucentia piece with string LED lights (batteries included). This first piece is pretty much exploratory. It did seem to work, though.
 
"Light Occulted" is a fiber piece using automirrors shining through a cloth overlayer. The cloth, cotton lawn, was very hard to get smooth. I consider this essentially a failed piece, but it’s still interesting to view. When you pass by it, the light reflected by the mirrors seems to move across the convex surface and they shine through the cloth.
 
In closing, my favorite painters are Georgia O’Keefe and Van Gogh. Henri Rousseau's "Sleeping Gypsy" has been coming to mind a lot lately.
 
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