As the Weimar Bauhaus sought to reconcile such disparate arts as painting, sculpture, and architecture within the manifold discipline of ‘building’, I strive to make such resolutions within my own body of work. As a figurative painter, I endeavor to hone the conditions of craft; as an artist, I am driven to create, and expression, abstraction, and diversion follow.
Always, the form must equate with the chaos, whether stark line with sinuous flesh, or the latter with seemingly random excursions of paint. There is ebb and flow, color and space, and most of all, balance. I cannot fathom the complete implementation of one system without the other; the craftsman, the artist, the creator, are but parts of one whole.
Within balance, there exudes rhythm. In and of itself, rhythm pervades our lives, and serves as a conduit between the animate and inanimate, the world and our senses. In painting, rhythm can be most effected by composition, and the elements within that balance might constitute a sort of dance. In this way the abstraction can achieve a truth, inherent within its beauty, that resonates with the viewer; this resonation might thereby mirror that viewer’s world more effectively than pure, matter-of-fact representation. The artist therein links more than mere associations.
Within figurative art remains the infinite configurations and delineations of flesh, concomitant with the allure, fascination, and repulsion most viewers possess for the same. By way of painting the figure as one conduit, and abstraction toward another, such a work can serve its purpose on multiple degrees. If well-composed, the work will serve in and of itself, as a channel within its environment - serving as focus and, contradictorily, element; at once conducive to the viewer, and the viewer’s environment.
My forms are well-executed in and of themselves. While expressive in color and line, the figures are made to be recognized for what they are, as to do otherwise risks negating the beauties and strengths inherit in their true natures (something much desirable in this post-modern age). But as an artist I can play on these images, and the real can dance within worlds entirely abstract and expressive, complimenting and absorbing them both. In this way the figures become symbols, searing into the consciousness as entirely new hieroglyphics; the new art is a collaboration of old ideas, new perspectives, and always, deliberate composition, quality, and execution, intrinsic standards in all of my work.