In this work there is at once an echo of what has happened before and an acknowledgement of the current moment. Past and present speak through the languages of archaeology, architecture, botany and are finally expressed as – art.
These paintings are the result of the artist’s long involvement with these concerns. The apparent excavation of the recessed sculptural forms references archaeology. The language of architecture is spoken through the construction and surface treatment of the works themselves – the sculptural forms and the attention given to surfaces including edges. As a gardener the artist includes references to plant life as part of a complex mark making system.
There is evidence of the artist’s interest in the multi-layered language of printmaking. The labor-intensive process of cutting, gluing, sanding and filing each piece of rag museum board brings to mind the collagraphic printmaking process. A collagraph is a low relief sculpture that serves as a matrix allowing for unforeseen, desired, painterly consequences to occur during printing. Also, the modeling paste surface on the flatter areas of each piece mimics etching with scratched and textured surfaces.
The works are on wooden, panel boxes with a depth of two inches. While essentially wall hung pieces they are also dimensional and partially exist as sculptures. The artist quite literally builds the work with a personal, architectonic language in mind. Color is chosen purposely, with effort made to convey each work’s personal self. As with the construction of the sculptural elements color too is applied in layers allowing for subtle variations to occur. Close observation reveals a multi-layered, textured work that softly reveals new secrets with each viewing.