Statement

I look at nature as genealogical kin, and through the painting process participate in its evolution and growth.  My search for a biological connection comes from investigating the link all natural phenomena share and from the noumenon passages of growth and change. When I approach the canvas, I see uninhabited boundless Space. To interact, I place my presence as the horizontal line, grounding myself in the continuous vertical all-around space. From here the journey is of movement and the ordering of my presence in this space. I take my clues from nature and frame my presence within the Golden section as a structural guide initiating growth, change, and movement.  Rhythm and vibration of sound regulate the continuous movement within the painted surface. Some of the sounds I utilize are bird calls, the buzzing of bees, and the sequential rhythm of crashing waves on the shores. These awaken memories and unvoiced cadences that I feel. As I interact with these, I conjure pictorial configurations with tones and modulation. Back in my studio, I jot these inflections down transforming these to become personal mark-writings in my process. These are the magnets that shape and direct my painting process as well. I don’t know why I am drawn to these phenomena; it is an innate reminder that I come from a similar source, made of similar materials, just a different entity created for a different purpose.

Working within a vertical consciousness, I take my clues from nature and frame my presence within the Golden section, which acts as my muse and my guide to build my imagery and address color energies. My presence is the horizontal line, with which I ground myself, and from here the journey is of movement and of ordering my presence in this space. I take my clues from nature and frame my presence within the Golden section as a structural guide initiating growth, change, and movement.  Rhythm and vibration as components of sound regulate the continuous movement within the painted surface. Some of the sounds that I utilize are bird calls, the buzzing of bees, and the sequential rhythm of waves as they crash to the shores. These awaken memories and unvoiced cadences that I feel. As I interact with these, I conjure pictorial configurations with tones and modulation. Back in my studio, I jot these inflections down transforming these to become personal mark-writings in my process. The higher the vibration, the lower the pitch, and the darker the hue. The shorter the vibration the higher the pitch, and the lighter the hue. These are the magnets that shape and direct my painting process as well. I don’t know why I am drawn to these phenomena other than the fact that it is an innate reminder that I come from a similar source, made of similar materials, just a different entity created for a different purpose.

Past and present connect, and time comes to a full circle. I call this process transferable where things of the ‘then’ merge into the ‘now’ to become its unique entity. It is the closest I can come to my Truism- to my innate connection to the created world. I call this method sacral transference; it allows me to navigate preordained patterns in nature with a collection of cultural, emotional, and spiritual peripheries into Trans-Stations of Migration, Light, and Place.