For the past 20 years or more I ‘ve been making paintings employing repetition and counterpoint based on invented systems and patterns created from symmetrical grids. My color has moved from saturated and opaque to transparent and earthy. The most recent work maintains the rhythmic and kinetic energy that attracts me to pattern and geometry yet veers off-symmetry to create a subjective planar environment.

 

Beginning with the Worldline Schreiber paintings (2016-18) whose title introduces the element of time/space, the fourth dimension, I promote a visceral sense of instability of the plane through selective interaction of two overlapping isometric grids. Projected planes flip-flopping transmit an unexpected relational nature to the canvas’ space and reflects the truth of my own experience at this phase and condition of my life. It also reflects the global volatility of current times.

 

These paintings give structure to something intangible, ephemeral, in - flux, or conversely, record the dissolving of structure that has been.  The two layered, symmetrical patterning systems, edited to promote ellipsis, engage with themes of transience, destruction, and transformation.

 

In the “Balance & Beam” group (2018- 2022), veiling washes layer to reveal and obscure connections that plot my journey, contributing atmospheric skins of time - space. All my drawing is hand done with a pencil, ruler, and compass. Washes are done with large flat brushes or paint is poured, there is no airbrush. Color references muted nature, warm dry earth, atmospheric, etheric gray-blue and flashes of regenerative green and pink.

 

The fragmented geometry becomes a vocabulary of gestures. I am attracted to the resulting instability since it allows for new possibilities and transformation within the logical system. The architectonic plan, the diagram, is choreographed from movement/moment responsiveness. I make decisions intuitively based on kinesthetic muscle - memory, what feels right in the context that’s been pulled out of the grid. Edges are subject to dissolution, leaving trace echoes of other moments. The structure itself is temporary, a dream-moment that we live in.