Artist Statement
A basic tenet of the creative process is transformation: the altering of reality so that the artist’s expression can exist as something new altogether. I believe that one of the essential functions of art is to make the familiar appear somehow unfamiliar, to make reality a little strange, and to entice viewers to complete the work by looking beyond mere physical appearances to something greater, to something deeper.
As a painter I am attracted to common objects and the stories their visual relationships can portray. I have always felt that there is something inspirational in the ordinary, and when objects share the same visual space, it seems that they have great power to tell stories. So, as I study and interpret seemingly simple forms I am continually reminded that beauty and mystery can be found in anything if one takes the time to look for and appreciate what might be revealed. In contemplating such potential, I have also come to appreciate the fact that objects themselves have the power to absorb and reveal both human and divine demeanor. I like that connection.
For many years I have been enticed by the transformative power of metaphor. When objects share the same visual context, I see the potential for meaningful connections between seen and unseen realities. By noting the underlying historical symbolism of each object, I strive to reveal something worthy of contemplation by creating a more transcendent reality, one that might serve as a channel for spiritual insight. Silver and glass vessels, boxes, linen fabric, cardboard, paper, ribbon, thorns, spheres, fruit, and a variety of other simple forms, all serve as vehicles for meditative contemplation and dialogue. In this interactive arena, I venture into a liminal space and hope the viewer might feel compelled to pause and think about what an image discloses to them personally.
Through my investigations, I have come to admire the beautiful elegance, refined delicacy, and humble function of a simple silver bowl and the potential its attributes offer. This bowl first intrigues me as a stimulating, playful, and technically challenging subject to paint. Unpretentious in design, yet complex in its fascinating visual surface, I appreciate the historical tradition of this vessel as well as the symbolic evocation of purity, refinement, and redemption that is associated with silver. Initially crafted as a commemorative object, and today often given as a trophy or prize for some notable accomplishment, the physical existence of this bowl has been tempered by fire, and it stands redeemed. But even in its redemptive state its material existence can succumb to tarnish if it is neglected or unused. So, as I study this vessel I see these distinctive physical and symbolic qualities as a compelling parallel to the characteristics of human spiritual existence and reverent faith. The essence of this vessel is its openness. It is ready and waiting to be used, and at times seems to be filled with a distinct, but indefinable presence.
Thinking theologically about form, I attempt to portray the invisible as I bring the viewer face-to-face with purposeful metaphors for biblical truths, promises and affirmations. This concept is one of incarnation. My intent is for the images to reproduce the look of the visible world, but simultaneously offer the means for a continuing story of meditation, mystery, truth, and reverent beauty.
As my faith informs my vision, it becomes the reason for my work to exist. In a place of quiet contemplation, the images will speak, and the messages can be received as contemplatively sacred. I like to think that my images are reminders of something we already know, but because the familiar is now a little unfamiliar a silent dialogue develops in a realm of revelation, even if words do not come easily.