about


Hello. I am an artist and professor living and working in Connecticut. I received my M.F.A. in Painting from the University of Wisconsin-Madison and am currently teaching at Tunxis Community College.

I use line to create geometric abstractions that connect space and material with my interests in mapmaking, time, and dimension.  The use of various styles of line allows me to explore my fascination with the in between.  This “in between” manifests within my creative practice as a dialogue between the work, the wall, and the space around them.

I have a degree in painting and make work that I consider drawings which people classify as sculpture.  I am interested in the relationship between the viewer and the space they must occupy to experience the work, where two- dimensional stops and three-dimensional starts, and how the object or picture plane can be altered to confuse or obstruct the traditional viewing experience.

During the process of creating I like to let the work evolve.  Having a simplified starting point or concept that can grow and change into something I never envisioned is one of the more exciting elements of my process.  This reactionary and intuitive way of working is paired with a desire to control and maintain an overall aesthetic.  The resulting body of work is made up of individual and unique pieces that still communicate with each other through line, my concepts about space and material, and their genre ambiguity.

Currently I am intrigued by the aesthetic possibilities that can result in the combination of constructivist line, which takes natural science as its model, with the various ideas and theories pertaining to alternate dimensions, astral planes, and how choices and time effect our “reality.” I want to use these ideas as a point of departure that eventually yield objects and images that are at once familiar and strange reconfigurations of their sources.  The resulting works will play off the tension that arises from both improvised and intentional integrations and clashes of diverse materials where mistakes and dead-ends mean more than any proven problem.

 

Leave a comment

Your email address will not be published. Required fields are marked *