Paintings
Paintings
This raw material recalls the firey brushwork of Abstract Expressionism and adds texture and surface vitality to the painting. In contrast to this rugged appearance I apply my color and shapes in delicate layers of acrylic glaze. Driven by “simplexity,” I build images that are both simple at first glance and complex when studied closely.
My recent paintings significantly depart from previous figurative work and expand my explorations of abstract shape, color, contrast, and dynamic composition. Additionally, I’m using core material and painting surface as something “expressed” and not hidden. I’ve chosen to paint on “OSB” (Oriented Strand Board), a standard construction material that is often used as an “uncelebrated subsurface.”
By the gods.
"By the gods" uses bold contrasts, dark and light forces, muscular shapes, sharp lines, ferocious textures, and vibrant colors to interpret the rich mythology surrounding these powerful deities.
These paintings are inspired by the gods of ancient Greece, with their mythical power and immortal appeal. Instead of illustrating these “Olympians,” I aim to suggest the conflict, dominance, and drama in their epic stories.
Traces
However, with a gentler touch, forests are an ever-ready reminder that nature continues to provide for us no matter how irresponsible we are in our stewardship of the environment. In Traces, I borrow from the visual language of shape, complexity, and “figure/ground” found in nature to create abstract compositions that honor our world.
The influence of nature on humanity cannot be overstated. As much as modernity and our built environment try to suppress this reality, nature remains in control.
Climate collapse and its existential threat is the most prominent examples of our planet’s dominance.
Calypso
Calypso was a test to see if I could successfully enlarge the drawing and maintain the visual integrity of its original design. The depth and color intensity were enhanced, and the "dancing shape" became more arresting.
I'm fond of this painting because it was an experiment with a very satisfying ending. When developing my 9.5" x 12.5" Silence oil pastel drawings, I imagined them as models for larger acrylic paintings.
