“The Sands”10x11 ¾”
Collage on paper bag.
“Blood and Water” 200932x64”
Oil and chalk snap line on raw vinyl.
“facing a certain future” 20099x12”
Collage on Hallmark bag.
“In Exile” 200916x20
Collage on graph paper
“The Great Escape” 200918x22”
Collage on craft paper.
“I AM” (I) 200918x22”
Pen and graphite on paper
"Out of The Silent Planet" I18x22"
graphite on craft paper
"Out of The Silent Planet" II18x22"
graphite on craft paper
"Out of The Silent Planet" III18x22"
graphite on craft paper
"Out of The Silent Planet" IV18x22"
graphite on craft paper
"Out of The Silent Planet" V18x22"
graphite on craft paper
It Is Near18x22"
graphite and charcoal on craft paper
Amendment I (Or Science Must Not Touch Religion)18x22
graphite and charcoal on craft paper
“Out Of The Water” 200972x72”
Oil on raw canvas
“Won’t be the same” 200911x11”
Collage on box lid.
Here are the images I said I would be putting up. This is the work accumulating in my studio; what I've been working at, and there is more to be added to this. However, It Is Near, and Amendment I, are from the last spring, and are not apart of this body of work--I just thought I would put them up because they are relevant.
Also, I have formulated another sort of artists statement about this body of work, and it gives a little insight into what I'm keeping in mind as I work:
My abstract work is very much about the formal as it is the spiritual and emotional. In my work, I deal with symbolism through the means of minimal abstraction as a way to represent larger concepts in a simple way. In some cases the pieces are more of an embodiment of a concept or ideal, and in other cases, they stand to represent something more narrative. I agree with Kandinsky, in the sense that I too feel that there is an initial, physical, and optical reaction to an image that takes place in the eye, but that it may also go further to touch on another level of a being: the emotional and spiritual level. I believe that the formal issues of art are perfect vehicles for the allegorical, and may further more even stand to supersede the work itself. I am in concordance with Barnett Newman, in the way in which he would want people to view and see his paintings: all at once and up close. In this mode of showing or viewing, one gets the picture more immediately, and the image is presented with a more straightforward depiction of a concept or idea. Though my work is somewhat “quick look”, I try to lend a meditative quality to the pieces, so to provoke a contemplation that would extend beyond the optical and formal reading alone.
Also, I have formulated another sort of artists statement about this body of work, and it gives a little insight into what I'm keeping in mind as I work:
My abstract work is very much about the formal as it is the spiritual and emotional. In my work, I deal with symbolism through the means of minimal abstraction as a way to represent larger concepts in a simple way. In some cases the pieces are more of an embodiment of a concept or ideal, and in other cases, they stand to represent something more narrative. I agree with Kandinsky, in the sense that I too feel that there is an initial, physical, and optical reaction to an image that takes place in the eye, but that it may also go further to touch on another level of a being: the emotional and spiritual level. I believe that the formal issues of art are perfect vehicles for the allegorical, and may further more even stand to supersede the work itself. I am in concordance with Barnett Newman, in the way in which he would want people to view and see his paintings: all at once and up close. In this mode of showing or viewing, one gets the picture more immediately, and the image is presented with a more straightforward depiction of a concept or idea. Though my work is somewhat “quick look”, I try to lend a meditative quality to the pieces, so to provoke a contemplation that would extend beyond the optical and formal reading alone.
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