ABOUT SELECTED SERIES
This is a category that I will use to several series of work that I feel continue to be relevant; Fragments, Fragments II, Fragment Anomalies, Eco-Images and Eternal Cycles.
The Eternal Cycles could be thought of as a game of time; death and rebirth, seasons, and
day into night, night into day. And in these passages of time, there are no sudden, sharp
boundary marks, but instead a slow gradual change. So gradual that sometimes we are not
even aware that something is happening.
The Eternal cycles could be thought of a game of time.
Light into dark, night into day is the basic cycle of life. The observation of the changing
light of day and night has been a personal study and a shared experience. The changing
light of day and night are my constant companions.
Light into dark, night into day is the basic cycle of life.
I am first aware of the morning light, as I observe the sun rising over Taos Mountain; the
colors are many shades of grey, pink, yellow and sometimes washed in gold and silver.
Later in the studio, I watch the light flow into my space; silently it climbs up on my
drawing table. I pull an easel to block its intensity. I shield my drawing table from the
piercing light. I continue to work. Then in the afternoon the light again crawls upon my
drawing table, approaching from behind, over my shoulder; it jumps on the surface where I
am working and it must be shaded from the light’s brilliance that is blinding.
I spend each day observing the light.
“Thomas Merton was convinced that if you let the hours of the day saturate you, and you gave them time, something would happen.”
“If you let the hours of the day saturate you, and you give them time, something will happen.”
It is the idea behind the work that dictates the image the artist creates. We do not experience the world, memory, or thought as a whole, but rather in bits, or fragments. Art should be required to be new and give the viewer a different way of viewing the world. The images I create do not dictate what the viewer should think, but allows the viewer his own interior thoughts.
In Fragments, I am creating the compositions through a random process on an implied grid, which is not seen in the finished piece. These compositions are pure abstractions and have no reference to the material world, except for the element of color, which is carefully chosen from nature. I also consider the visual vibration of each color as it is laid randomly next to another.
These works could be seen as pages of a diary or nature journal, and like poetry, one idea dissolves into another, and the series of work becomes a sequence of new images. Like each new day, forever changing. Each piece takes time to create and they also require time to be seen. In science, this is called the Heisenberg Principle, a phenomenon that asserts that the act of observing alters the reality being observed. Because, the finished work is not preconceived and arrives unexpected. I feel anticipation and excitement, and because it is my experience, there is the possibility the viewer will experience this at some level.