Emotional Architecture is about the human psyche, or perhaps the universal psyche in all things. A psyche that is at once focused on a moment and at other times a reflection of a life thus lived. These carved out and built up spaces are places of habitation and avenues of exploration. These moments I relate to the human experience. Moments of growth, transition, relation, stillness, movement, departure, choice, and with more contemplation comes experience. These paintings are static, but as the history of the viewer changes so does the experience of looking. Read More
This gallery contains paintings I have done outdoors. Painting on location is a beautiful experience. It’s a race against time as the light is continually changing. Being anchored in one spot all day allows you to learn things about a foreign location that you may not even know about the street you live on. Time is limited, the conditions are unknown, and the unexpected will occur.
Contact me directly if you want to commission a location painting anywhere in world.
Highs & Lows, Darkness & Light, LOVE & deceit. Love conquers all. A selection of ten works from a new series.
This group of paintings consists of different “worlds” that I have found along the way. They start abstract without any preconceived image. As I begin a painting I access my unconscious via the act of painting. As the painting develops I start to see things with my conscious mind and construct a navigable environment inspired by nature, the city, and the life of the paint. The recognizable invites narrative, but I leave it ambiguous, thus open to continuous exploration by the viewer. Some of these environments are highly distilled, while others are much more complex. Each one develops and functions much in the same way as an ecosystem. To our delight imagery in painting evolves quicker than in nature and only obeys the laws of the painter and the paint..
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Everything is relative. These paintings are about approaching the canvas with very few preconceptions as possible. I would say no preconceptions, but I feel that is a utopian idea. Ultimately the painter is influenced by the memory of the material and the collective process. I paint myself into a state of meditation while accessing a universal visual language that facilitates how the unconscious mind relates information.
The 2007 body of work started when I moved to East Harlem on New Year’s Eve. I knew nothing about the neighborhood other than it provided me with a short commute to my job at the Guggenheim Museum. It was a big change in my life and in my practice. I had brand new studio with more space than I ever had, and the freedom to work in seclusion. It is no coincidence the early paintings in this series relate to some of my signature moments in earlier years. There was a big shift in my practice to make my painting and my life enmeshed more than ever. I worked on multiple canvases at all times, searching, keeping exploration as open as possible. I learned to value the evolution of process over a specific technique.
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