I am geometric abstract painter. My paintings are composed of radiating stripes of vivid colors that draw the viewer into an enveloping experience. The most common question I receive is, “what is the inspiration for your color palettes?” My simplest response is, “my last painting.” I fully subscribe to the credo that, work begets work, or as Chuck Close put it, “Inspiration is for amateurs.”
While working, I consider the infinite possibilities a painting can take and from there map out the next 3-4 pieces. Each color has an inherent emotionality that can be expanded on and explored. I compare these explorations to a musician mastering their instrument and many nights I lay awake imagining the future compositions. Alone, each color is atonal. But when taken into context with neighboring colors, it can create steady rhythms, soaring harmonies and visual melodies. Music has always played a pivotal role in my life and provided fuel for my studio practice. These disciplines share a unique capacity to shift consciousness and elicit emotional responses capable of stopping an audience in their tracks. I still get teary-eyed every time I hear “Maria”, the iconic love song from West Side Story, which stems from fond memories of starring in my high school’s production. My affection for both disciplines coalesced into a minimalistic approach to mark making that promotes inward journeys, rousing memories and suspending perceptions of reality.
I use the industrial paint 1Shot enamel, which is self-leveling and retains a high gloss finish masking the brushstrokes and creating the effect of immediacy. I am drawn to the challenge of working with an atypical art medium with a limited palette unintended for fine art. The famed designer Milton Glaser put it best, “Limitation stimulates the imagination.”
My work references the dynamism of the Op, Pop, and Psychedelic art movements with its use of repetition and bold color, and an interest in the optics involved in shifting consciousness and perspective. Recently, my own perspective on the impact art has on communities has gone through an evolution. Through my production of several public art murals, I’ve witnessed the potential of public art to catalyze community rehabilitation and demystify Fine Art for those intimidated by museum and gallery thresholds.
These public art experiences offered me an opportunity to reevaluate the activation of space in my studio work. By incorporating a sense of architecture into a new series of sculptural paintings that inhabit corners and adjacent walls and floors, I invite the viewer to reexamine their engagement with their surroundings and art in general. This interaction furthers the dialogue on our preconceived ideas about art and our shared space. “Is this a painting? A sculpture? What’s happening here?” Fusing a love of color with an investigation of space I explore how these elements impact us emotionally by exciting the eye and exploring the psychology of perception.