Light Paintings
The first images are representative of my “light
paintings”. They are acrylic on Plexiglas and utilize
back lighting within a self-contained box. The intention of
the light paintings is to express a mood or feeling,
amplified by light, creating an environment rather than an
object. These works increase the expression of
non-objective content and cause the viewer to slow down and
reflect on what he or she sees. The need is not to have the
viewer “see” what I do but to be confronted by
my means of communication in a new technical and conceptual
way. These works have been exhibited at the Museum of Neon
Art in Los Angeles, CA and are in permanent collections in
Chicago, Denver, New York, Los Angeles, San Francisco,
Paris and Tokyo.
California Paintings
The next group of work includes examples of paintings on
paper created while living in Los Angeles and San
Francisco, California. Keeping with the non-objective
direction, these large-scale works use basic subject matter
as points of departure.
Tokyo Exhibition
The paintings and drawings titled “Tokyo
Exhibition” are examples of work from a solo exhibit
at the Isetan Museum of Fine Art in Tokyo, Japan in 1993.
These works show of continued use of fish, figures, etc. as
points of departure.
Berman
Museum Exhibition
These acrylic paintings and drawings on paper from the late
90’s and represents the most recent completed body of
work. Although these figurative works break away from the
non-objective imagery, they still have an abstract
expressionistic approach to the painting process. These
works were intended to combine a recognizable image (the
figure) with a non-objective sensibility. This series of
paintings and drawings were first exhibited at the Philip
and Muriel Berman Museum of Art, Collegeville, PA in 1998.
Recent Work – Constructs
The last group of images is the future direction of my work
and are examples of the most recent constructed paintings.
These works are mixed media, which utilize acrylic, canvas,
wood, metal, masonite and Plexiglas. The introduction of
actual three-dimensional objects creates a new and exciting
element that breaks the traditional format and brings parts
of the real world into play. These relief paintings combine
traditional painting with sculptural and industrial
elements to create a new kind of “cyborg”. A
return to the non-objective, these works hint at imagery
that once again entices the viewer to participate in a
visual and conceptual game.