In the last seventeen years, my work has emphasized, “imprint” as a method for making paintings. By de-emphasizing the brush or foregoing it altogether, I begin by painting objects (formerly hands, fingertips, leaves and now, bottles) and press them on the paper or wood or canvas surfaces. Prior to my use of bottles, the imprint functioned as a record from the real world, a fossil, or remnant of something that exists referring to the concrete, to what was and to what may come into being. As I began working with bottles, the record of the bottle was of little importance and the bottle was merely a tool for creating a circle. It is rather the method of fast repetitive imprints that implies the passage of time and memory.
The newer Constellation Series represents a shift from the botanical-organic to the biometric and cosmic. Multiple associations are inferred: planets, cells, comets, atoms, stars, earth and ocean surfaces. The clustering of circles implies cosmic entities, space as alive in a constant state of flux, assuming multiple dimensions of time. Scraping the imprints often bring surprising results, trails of paint that swoop away from the image referencing speeding comets, or primordial ooze. Issues of mortality, transcendence, and the continual change/flux in all that surrounds us remain an important focus for my work.
What I hope to achieve are visual metaphors of immateriality and the temporal nature of everything, including our own corporeal existence.