Exploration of form led me to increasing abstraction as I experimented with depicting mass. I found doing sculpture of the greatest benefit to leaning to draw and paint in the round. That contrasts solid elements with space, not only around them but through the intervals between their parts. Expressive gestures by sweeping brushstrokes communicate the essential nature of form. Non-verbal communication is closer to existence itself. My artworks are a direct expression of the sensations of the comprehending mind, an abstraction from visually observed nature. My paintings convey my intense searching for understanding of being. Contrasting modes of expression, like lines angular or smooth, firmly or loosely jointed, strike resonances of expression that are both harmonious and contrasting.
I analyze naturally occurring things to their essential forms and reject the one-point shadowy illusions of cameras. Rather than by recording the accidents and illusions of color light and shade I demonstrate that authentic perception is by knowledge of elemental form. To show the essential mass and bulk I construct it using advancing and receding elements. This aerial perspective provides the viewer with a conceptual experience of proximities of constant elements rather than chiaroscuro's accidental changing patterns of shadows and highlights, or geometric perspectives ingenuious illusions. A painting is a whole, a formation that leads to a particular world. Some make a work of art using illusion, surprises or icy perfections of style, but a pure work is free of contrivance and addresses itself to the universe of the real.
To conceive art it is first necessary to know what one wants: to make a simple pleasure for the eyes; or to satisfy the senses and the mind at same time? I believe the goal of art is to put the spectators being into a state of elevated order. Visual art makes marks that are like instruments in an orchestra. The artist chooses lines, colors lines and tones to create a symphony of sensations in the viewer to place him in a preferred state.
A painting is not a flat surface, it is a space, like architecture hence volume is its means. In the expression of volume the agents include color, tint, extent, saturation, sharpness and texture. The intrinsic properties of each mark is different, some are radiant and pushing forward others receding, still others being massive and staying in the real plane of the canvas - they all act differently. Their combinations move extensively into constructions. Their resolution is by the artist adjusting them to harmonizing them into unity. As the eye moves around the picture the balance of their relationships has a turbulence that gives the picture life.
But as with dream interpretation we must set aside the details of the furniture and seek the meaning, so it is with depicting a thing in itself. As Max Liebermann said the art of drawing is the art of omission. Rather than add auxiliary descriptions to explain a thing I seek out and eliminate whatever distracts from it. The work involved in artwork is finding the subject. I ask what exactly was it that instantly attracted me to this formation?
The formation of subject is the most important aspect of content. It depends on mood which of the elements of nature, measure, weight and quality, are brought out of the general order to their appointed array, to be raised together to a new order called the subject. This choice of elements and their mutual relationship is like a theme in music. The artist builds these elements into equilibrium, and adjusts until the scales show a balance.
I believe in a perfect existence, not idealized or romantic but a real suchness. An isness. Absolute being is perfect yet veiled by our dualism and prejudices. The pentemento and imperfections made by rough brushes are part of the finished work.