From a letter to a patron regarding the use of arches in my work:
I use the title "Roma Invicta" (a motivational latin motto meaning "Rome unconquerable") both symbolically and ironically. I was thinking of the rise and fall of empires throughout history and the recurring patterns to this day. Compositionally, I find the grid motif of the vertical and horizontals work extremely well for me to visually separate the painting into smaller abstract paintings, while maintaining the whole. Emotionally, I've always been fascinated with arches, bridges and aqueducts since my childhood. I remember a book my father gave me when I was young and I learned that the arch was one of the strongest forms in architecture. Thus the irony of "Roma Invicta" and the repetetive growth and decay of other seemingly invincible empires.
2003 - ARTIST STATEMENT: RECENT WORKS
With the new works, a conscious effort has been made to reduce the characters and forms to both a progressive and regressive state of Abstract Expressionism. While not completely void of subject matter (early themes of Christian/Pagan duality remain), the new works become more elusive in meaning. The recent abstract paintings prove to be a powerful vehicle for the recurring emersion of the "multiple image", leaving numerous interpretations to the audience. Questions and statements are replaced by an acceptance of ambiguity and the enigmatic.
By primarily focusing on a painting's visual elements: composition, space, colour, texture, line and form, two eternal and opposing principles naturally emerge: order and chaos. As all duplicities, these two concepts are both distinct from one another and existent within each other.
Modern sensibilities are counteracted by primitive influences and energies. Paintings rely on visual relationships. Clean form, awareness of space and composition, and colour theory are balanced with aggressive brush strokes, primal techniques and relic textures of process painting.
"If my devils are to leave me, I am afraid my angels will take flight as well." RILKE
Painting through process has allowed the art to become absolute: to grow in power unprompted and unguarded, yet still cultivated by learned hands and eyes. In this indeterminable space, angels and demons are reborn with freedom of being… in the abstract.
The following is an edited excerpt from a letter to a friend. 11/10/04
"My artist statements may touch on this...but : I believe my art is an attempt to reconnect with the spiritual: a higher creative energy...it's an escape...a spiritual escape...stories and characters create themeselves and are constantly changing. In this way it's all about process. When I'm in the middle of it: the zone, I'm creating problems, puzzles and stories for myself to solve and resolve. When one section of the painting works ( may only be a few square inches), it may be strong to enough to change the problem/story into an entirely new direction, thus creating more problems. I use "problems" and "stories" interchangably because they work together within each other. The "problem" is what works for me: regarding the visual relationships of colour, form... etc.. learned from years of flipping through art books, magazines, movies and formal art school training. But, the "story" is the thing of myths and collective conciousness...the light in the cracks. So when the story, or myth, starts to surface, the physical paint on canvas has to carry it. That's the dance. The physical and the spiritual are in constant play. That's the cycle...the obsession. It goes in circles until something tells me to stop...or, atleast, stop for now...
This may explain some of my techniques...(techniques out of default of the process). I have the fortune of having many unresolved paintings around me (physically) which when reworked several times over weeks, months or years, leaves layers of "ghost paintings". Relics and textures of old stories told and problems unresolved. This layering, I believe, adds new dimensions (both spiritually and physically) to the painting and the process. Shapes, marks and characters are "saved" from a previous process and are carried over to the next. Often very small portions. These former "negative" spaces frequently become "positive" in the formal sense. The possibilties are infinite and a painting could therefore be worked on forever with the story and problem forever changing and repeating......history. Having more than one canvas to work on allows for a break or freeze in the paintings' lifecycle at a chosen moment or place in time. A current painting then gives forth to a new chapter or version of the story. Explaining the choice of this break is very difficult. Sometimes material neccesssity (the process must be self-sustaining...ie: sold as commodity) is considered and sometimes pure instinct reigns... In this way, a multitude of layers and levels of existence are created and experienced. This is the spiritual connection (spritual opiate) or attempt there at..."