the Show juxtaposes two separate bodies of work with a common thread: a human experience in an environment that has become home. Both series strive to capture and convey my emotions and sensations in each place.
I am also exploring opposites in harmony. Both series also explore harmony
Our cities are often challenging places, cold industrial concrete jungles
‘The Urban Sublime’ series is an exploration of a human experience, in a contemporary urban landscape.
As an urban dweller, I would find myself walking, under and around these massive industrial structures, highways and underpasses, spaces and places that are accidental environments, byproducts of urban transportation architecture.
Ordinarily mundane and soulless, when activated by light, I found these spaces were capable of offering an experience of the sublime, a momentary glimpse of wonder that could easily go unnoticed without conscious awaremess. The work offers an opportunity to linger, to re-examine the place, to bring permanence and presence to fleeting moments of a sublime experience in an unlikely place.
The prints are monotype which are created by painting with ink on an acrylic plate. Paper is then laid on top of the plate and both are run through a press. The pressure transfers the ink from the plate to the paper. There is only one print produced.
and light at a certain moment and a specific angle
Occassionally if I was paying attention I could experience a moment of wonder or the sublime if the light shone at just the right angle.These accidental environments or voids voids between supporting columns and girders that support mass transport highways.
The work examines these voids and attempts to find awe, wonder, and the sublime within the grime of 21st Century urban life. Because of the mundane and generally unappealing nature, of the subject matter these moments might ordinarily go unnoticed.
This work offers an opportunity to linger, to re-examine the place, to bring permanence and presence to fleeting moments of experience.
Each piece evolves organically and quickly to assimilate and capture the energy of the initial experience. The prints are monotype which are created by painting with ink on an acrylic plate. Paper is then laid on top of the plate and both are run through a press. The pressure transfers the ink from the plate to the paper. There is only one print prpduced.
I favor monotype as a printmaking technique. Its intuitive process-driven approach facilitates gesture, mark making and chance. I have begun to employ similar monotype techniques in painting, approaching the canvas as I would the plate.
As a child I lived in an industrial town far from the sea. As a young adult I lived in New York City, surrounded by water. After 20 years there I left for the east end of Long Island where I spent two years waking to the sight and sound of the sea. I experienced it's at it's finest, it's fiercest and it's most subtle.
The more subtle aspect of it's character move me. Just before or after a storm, or a quiet foggy morning. What can seem cold, miserable or dreary, given the time to be present and still, it's grace and beauty can be revealed. It is often on these days that I feel the most connected, the most soothed, calmed and comforted.
I bring that experience back into the studio and into my process, as I try to create works that capture the contrasting natural forces that seem to exist in harmony on these days: the still veil of a morning fog looming and lifting as the ocean moves breaks at the shore.
As I paint, the process os very fluid, as I move between freedom and control, pushing and pulling the paint in a variety of delicate controlled whispers of the brush or active, swiping motions of a palette knife feeling my way around the canvas, translating my visual and emotional experience.
City and Sea juxtaposes two different bodies of work - reflecting some of the contrasts of the environments in which I have lived: urban / rural, manmade / natural, color / monochrome, light / dark.
Opposiing forces that seem to exist in harmony also resonate with me such as the still veil of morning fog and the movement and power of the ocean as it breaks at the shore or the cavernous dark underpasses fractured by shafts of bright light breaking through.
This tension or conflict is reflected in my process. Whether in printmaking or painting, I enjoy working on the edge between realism and abstraction, freedom and control, pushing and pulling the paint or ink. With whispers of the brush or active, fluid motions of a palette knife or brayer, I feel my way around the canvas or the plate, translating my visual and emotional experience, while attempting to capture the energy, mood and movement of the subject. Both series of work aim to capture something that is fleeting, ephemeral, while inviting the viewer to linger.
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