Artists have used geometric abstraction since ancient times to make sense of the world around them and record their stories. I apply abstraction and geometry as an organizing and fragmenting tool for processing those unsettling characteristics of everyday life. Employing abstraction without representational imagery also alludes to spiritual concepts in an effort to understand our existence.
The content of each painting is the sum of organized tensions and its reality lies in the dynamic relation of forms one to another. Tilting of forms represents the notion of an elemental structure whether spiritual or scientific rendered illegible by the disorder of modern life. I explore discord and loss of equilibrium to overthrow expectations. The canvas detaches itself and acquires an autonomous life, thus the painting becomes real when it looks like it has been done all at once and has no beginning and no end.
My work is a constant search into new territories of abstraction and the possibilities of painting. The paintings are personalized color formations created by movements of the mind. I resonate with Paul Klee’s statement “Color and I are one
Sources of my work? "Sunburst" and "Big Break" are inner explorations of psychological states and some of the work has visual references to bridges, architecture and aerial views. The geometric abstractions with earth colors refer to my interest in early pueblo dwellings and the spirit life of the peoples of the Southwest. “Sipapu” refers to the sacred spirit within a pueblo kiva that moves into and out of the space. “Eruv” refers to a doorway that connects private space with a public one. The work in “Degrees of Abstraction” revel the capacity of geometric abstraction to explore and diffuse challenging material.
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