For as long as I can remember, doubt has been a compelling motivator for
me. My broad curiosity and general perplexity about the nature of things
is in constant dialogue with possible explanations; this is a rich as
well as an anxious conversation. As a painter, I tend to spatialize my
existential conflicts. The single constant that I have encountered in
this fluid yet mappable world is that positions-both spatial and philosophical-are
understood not as absolutes but in relation to others. In this context,
I see my work as a metaphorical response that attempts to make some sense
of what is so complicated, and to make coherent the brimming energy of
uncertainty.
Towards this end, I use a complexity of formal relationships to create
visually dense images that inspire reflection on surety, ambivalence,
and doubt. Specifically, I am interested in making work that is unified,
intelligible, and aesthetically beautiful at the same time that it expresses
a feeling of shifting frames of reference and the fleeting nature of certainty.
At the most personal level, my work makes manifest my experience that
a single event can be understood in a disorienting number of ways. These
goals are philosophical and conceptual and I delight in the interplay
between theory and practice in the making of my work.
The methodological context for my work is the blending of elements from
several historical and contemporary models. My greatest debt is to European
and American Modernism, from which I draw a love of visual perception
distinct from narrative content, a delight in paradox, and an appreciation
for beautifully articulated subjective expression. I have also been influenced
by postmodernist theory and analysis, and by the critique of systems of
meaning. These influences percolate through my process, and become discernable
to me mostly after I have already come to a visual decision about the
completion of a piece. Currently, my work is abstract, geometric, patterned,
visually dense, and technically precise and involves the juxtaposition
of several modes of Western spatial representation. In the near future,
I plan to continue to make images that provide a concentration of visual
experience, while exploring a looser technical approach and introducing
non-Western conventions of signifying space.
Current Work
I make paintings, drawings, prints, and digital images because I am deeply
moved by creative exploration (as a viewer and as a maker), and because
I am drawn to the visual in particular. I am drawn to the manipulation
of the materials themselves. I am also drawn to the subtlety of visual
perception. In exploring various media and in exploring visual perception,
through trial and error, I find materials, imagery, and formal structures
that I recognize as successful. Through practice and experience, I have
become visually sophisticated, and I work to satisfy my own sense of what
is compelling. My goal is to achieve a sophisticated subjective expression
that will be meaningful to others because I thoughtfully use culturally
constructed and shared conventions of pictorial organization and because
I simultaneously bend, build on, and break those conventions in order
to discover a more exact expression of my experiences.
Notwithstanding preconceived intentions, it is the actual making of the
work-the marking and the looking and then the recognition-that leads to
insights and new ideas. My process is less a matter of executing plans
and more a question of positioning myself to make discoveries. It is important
to state this primacy of the physical and the perceptual (and also of
the exploratory nature of my process) at the outset because it helps to
contextualize my own practice within historical and contemporary art practices.
It is also important because my interests in phenomenology, epistemology,
semiotics, art history, and cultural studies are easier to articulate
than the essentially inexpressible ways in which artists make choices,
and in which art becomes meaningful. My process is an interdependent mix
of the physical, the perceptual, the intuitive, and the analytical.
The work that I admire the most, that is most meaningful and influential
to me, is work that visually expresses paradox. In my own work, I have
become fascinated by the notion of point of view, of multiple points of
view, and of the possibility of juxtaposing multiple points of view as
a way of exploring the relativity of experience. In my work, point of
view refers both to an implied physical position for the viewer, such
as the specific location implied by linear perspective or the almost omniscient
position suggested by an isometric projection, and to different modes
of representation and spatial organization, such as the rendered three-dimensional
forms of illusionism or the optical "push and pull" of Hans Hoffman's
Modernism. These notions of points of view stand in for yet others, in
which point of view refers to a stance or set of beliefs. By juxtaposing
different points of view within a unified image, I am able to visually
express the paradox that I find so compelling and that is so central to
my own experience.
The painting "La Robe à Ramages" (2003, oil on panel, 48" x 36") is an
example of what I am describing. An initial glance absorbs the overall
pattern of triangles and cones. The painting, however, consists of three
different, overlapping spatial idioms: the illusionism of the cones, the
coarse realism of the curtains behind, and the optical hovering of the
yellow modified trifolium shapes in the middle of the openings of the
cones.
For the painting to work, none of these idioms can appear dominant, nor
can they operate in complete distinction from one another, nor can they
fold into a single seamless system. They must slowly protest each other,
and provoke more looking and effort to try to resolve the constructed
tension. More looking brings awareness of yet other things: the move of
the cones from a warm emerald green in the center to a cool viridian at
the edges, the presence of the impastoed curtain belts, the spatial ambiguity
of the connection between the yellow ochre of the curtains and the yellow
ochre of the modified trifolium shapes.
An integral aspect of making my own work, looking at art broadens the
scope of my visual experiences, trains my eye, and informs my sense of
culture and history. "La Robe à Ramages" is an example of my love and
appreciation of the works of other artists. It is an homage to the French
painter Eduard Vuillard, who made a painting of that name in 1891. Vuillard
is known in part for painting society portraits and decorative landscapes,
but his more significant contributions were his genre paintings of interior
scenes with his family and friends. They are significant for the delicate
and sophisticated way
s
in which they vacillate between a carefully structured representational
illusion of space and an equally nuanced approach to the abstract configuration
of visual elements such as shape, color, and pattern. The tension between
an illusion of space and the fact of the essential flatness of the paint
and canvas is inherent to the visual perception of painting, and is a
rewarding lens through which to approach all two-dimensional art. It is
especially important for the consideration of Modernist art. In my opinion,
Vuillard was among the best practioners of this important aspect of Modernism.
Vuillard is also known as a painter of intimacy. The gorgeous formal structuring
of his work seems entirely synchronous with his scenes of family and friends
deeply absorbed in their daily lives. The actual activities of the people
in the paintings is inseparable from the manner in which they are depicted;
women at work, families at table, and people often in the same room but
quiet and in their own thoughts all mesh with the low light and shifting
patterns of wallpaper and fabric. The scenes have an indirect narrative,
and describe a gentle humanity. I, too, am interested in the possibility
of an indirect narrative, a narrative presented primarily by the formal
structures and contrasting spatial modes of the image and only then augmented
by the potential for symbolism. Initially, I painted the curtain in the
back of "La Robe à Ramages" to visually push against the screen of cones.
It is a curtain because I had just re-read an essay by the art critic
Clement Greenberg in which he uses the analogy of a curtain to describe
some of the goals of Modernist painting. The curtain can also refer to
the drapery of a dress, as in the title of the painting. Ultimately, I
am aware that the curtain can further symbolize concealment and revelation,
and that it can symbolize the artifice of theatrical performance. These
are connections that I have considered, that I find personally meaningful,
and that I think are among the set of connections potentially available
to a viewer. I do not, however, consider them prerequisite to understanding
the painting; looking is what is required for that.
Understanding historical movements and grappling with contemporary practices
can help create a useful context for further understanding my line of
inquiry and the influences which have helped to shape it. My work is best
described as a blending of Modernist and Postmodernist concerns. Modernism
is often defined as involving a rational but subjective self, self-consciously
and empirically reasoning toward an elusive system of meaning. In the
visual arts, Cezanne, Picasso, Matisse, Pollock, and DeKooning are considered
exemplars of Modernism. Postmodernism, on the other hand, assumes all
meaning to be constructed and therefore biased, and often uses strategies
of appropriation, juxtaposition, re-framing, and irony to topple pretensions
of objectivity and certainty. My work is based in the self-conscious and
empirical practices of Modernism, and in the suspicion of claims of objectivity
underlying much Postmodernist art.
Modernist art has been very influential to me. I find the formal structures
characteristic of Modernism thrilling to look at, and the conceptual concerns
compelling to think about. Postmodernist art, on the other hand, has been
important to me mainly for thinking about. I don't find the aggressively
disorienting qualities, illustrational tendencies, and ironic stance of
much postmodernist art compelling, but I am drawn to the critique of systems
of representation. So, while some of the thinking behind Postmodernism
seems relevant to me, my use of juxtapositions is not ironic. Postmodernism
uses juxtapositions to cancel out opposing notions of truth. I use juxtapositions
because I suspect that truth is somewhere in the middle.
The painting "Metasemaphore" (2003, oil on panel, 36" x 27") is another
way to describe what I am interested in. The painting rests on the basic
play between the illusion of volume in the cones, the flatness of the
stripes, and the optical space created by the interaction of the colors.
Retrospectively, I am aware that in this painting, and all of my work,
I draw on specific aspects of a number of (primarily) late 20th century
approaches to painting. For instance, I have a debt to the visually kinetic
effect of the Op Art of the 1960s, though I am less interested in the
intensity or speed of it. I also work in territory explored by the Pattern
and Decoration painters of the 1970s and 80s, whose work brought the beauty
of pattern into the mainstream of fine art and challenged the gendered
politics of fine art versus craft. I am a beneficiary of that fight on
both accounts, but I do not use pattern or decoration for political reasons.
My work also relates superficially to the Neo-Geo painting of the 1980s
and 90s, but I am more affected by the trompe l'oeil of Harnett, the delicacy
of Schwitters, the power and elegance of Serra, and the romance of Klee.
What is ultimately important about these references is that they are a
set of tools, of ways of looking and ways of structuring visual relationships
that I can use intuitively as I make a picture, playing one off against
another as I look for my own way to create a multivalent visual experience.
The Development of My Work
My current work represents a point on what I hope will be a long and rewarding
line of inquiry. When I came to Hobart and William Smith as an adjunct
professor in 1995, I was already involved with pattern, and with a compression
of spatial illusion created by a physical, textured paint surface and
by paradoxical play with scale change and color relationships. In "Sky's
the Limit" (1995, oil on canvas, 48" x 48"),
I
placed gestural as well as stenciled and taped marks and shapes into a
web of loose pattern. The overall pattern sets up an expectation of order
and orderliness. The structure of overlap, "erased" areas, shifting size
of diamond shapes, and color relationships all challenge and complicate
that expectation.
Around this same time, I began to use stencils and masking tape in my
work as a way of minimizing the importance of my personal touch or gesture
in the work. I felt that the presence of my hand, of my autographic mark,
was a distraction from the more important question of the formal structuring
of space. The mechanical, cold, and hard quality of the resulting marks
helped me to not feel caught up in whether or not my hand-made marks were
good enough. While I quickly came to see that I was simply substituting
one kind of hand for another, this desire to be able to see things freshly
and clearly has been very important in my work, and has manifested itself
in a number of significant ways.
The most important way in which my desire for critical distance has impacted
my work is through my exploration of a number of different media. I was
initially trained as a photographer when I began my art studies in college,
and I have proceeded to investigate drawing, printmaking, painting, sculpture,
digital imaging, and bookmaking as avenues for artistic expression. This
way of working is a bit nomadic, with the attendant problems of not getting
to know one method exhaustively, but for me the benefits have far outweighed
the costs. Drawing has been central to my work, because of its rich tradition
as an exploratory process, and because it is so graphic and immediate.
Printmaking has been crucial, both because I feel an affinity for the
particular visual qualities of intaglio prints, but also because the methods
of printmaking tend to enforce a process of working in stages, a critical
distance. In many printmaking processes, one works on a plate for a while,
not knowing for certain how the work will look in the print itself. The
making of a proof, a print of the plate in its current condition, makes
visible what was only speculation before. The physical manipulation of
the materials of printmaking is as interesting and rewarding as that of
painting and drawing, but the necessary division of the work of printmaking
into stages is utterly different than the immediacy of paint or charcoal.
Printmaking provides enforced moments of pause, opportunities to deliberate
and be deliberate. In this way, printmaking has informed my approach to
painting and drawing, just as my love of the immediacy of painting and
drawing has helped me to avoid being overly technical in printmaking.
By 1999, I had begun to explore digital imaging as another way of testing
my ideas. At that time, the
patterns
in my work had become fairly regular and consistent, and I was layering
them over one another in such a way that they would compete for visual
prominence. I was still using tape and stencils as a means of getting
a different kind of mark, and I incorporated those stencils, as well as
bits of photographs I would take, into my new experiments with digital
work. I was especially drawn to the possibilities of the computer once
I realized that the preeminent software for image making, Adobe Photoshop,
was based on the concept of layers and the ability to manipulate layer
order and opacity. "Untitled," (1999, digital Iris print, dimensions variable)
is an early example of this work. In it, I layered scans of stencils that
I was using in the making of my paintings, with scans of ribbon and other
computer-generated imagery. While the primary advantage of using the computer
was in having yet another way to look for the specific perceptual paradoxes
I recognized as important, it also encouraged me to re-introduce photographic
(and therefore highly illusionistic) material into my work.
Insofar as digital imaging allows me to generate multiple identical copies
of an image and output them onto paper, using the computer is an extension
of my work in printmaking. However, the value of imaging technologies
for me has had more to do with two other things, the first of which is
the computer as a model of information architecture. While I am not especially
technologically inclined, I am aware of the way in which the internet,
hypertext, and much contemporary art that relies on interactive computer
software often explore a non-linear approach to information, experience,
and understanding, and such work has strongly influenced my thinking.
The second important way in which computers have been valuable to me is
process related, specifically the ease with which one can do otherwise
very tricky things. For instance, to experiment in paint with different
configurations for the curtains in my painting "La Robe à Ramages" would
have taken weeks of work. To take a digital photograph of the painting,
gather examples of curtains from the internet, and experiment with different
possibilities (as I did) took a matter of hours. In my most recent digital
images, I experimented with color in ways that would have been essentially
impossible had I been working with paint. I have also been recently inspired
to use the computer to further my experiments with illusionism, or three-dimensional
rendering. Three-dimensional rendering programs are capable of producing
very complex effects with relatively little effort, and the challenge
for me has become the reverse of my challenge in other media. While in
painting and printmaking I work hard to make the illusion of three-dimensionality
strong enough to create tension with the flatness of the surface and the
optical ordering of colors in space, in digital imaging the illusionism
is so strong and convincing in a photographic sense that I have to work
hard to find ways to make the surface seem flat at all, and to help the
colors operate with some independence from the three-dimensional forms
they describe.
Although I have thought extensively about it, I cannot explain with absolute
certainty why I have started to use illusionism in my work. I think that
it is because I wanted to find a way to more gracefully fuse the
different points of view in each image, while simultaneously increasing
the potential for disruption. In my work during the 90s, I depended on
an interpenetration of patterns, such that each shape belonged to several
patterns. By contrasting various aspects of color (such as hue, value,
and intensity), a shape might seem to cohere with one pattern at one moment
and a second in the next. When making intaglio prints, such as "Untitled"
(1998, intaglio, 18" x 12" image), I used value contrasts and the power
of implied line. One first perceives the strongest contrasts, created
by the value contrast of the light and dark undulating horizontal shapes.
One is aware that those shapes are not homogenous, and attention to the
other shapes within the undulating shapes points to the pattern of pendulum
shapes and finally to the pattern of three vertical coils. By manipulating
contrast in this way, I created an experience of visual unfolding as each
shape configured with successive layers of pattern, and became distinct
from the others and from the initial apprehension of the image. In my
current work, there is less layering of pattern and everything happens
at once, in one continuous field. To the extent that any given shape or
form is doing more than one thing,
it
is because that shape or form represents more than one spatial idiom or
mode of representation. Thus, in "Kilter I" (2002, intaglio, 24" x 18"
image), the space is shallow and compressed, and there is tension between
the contour and rendering of the cones, which create the illusion of volume,
and the continuity of the stripes which has a flattening effect. If the
balancing and overlap of spatial idioms is successful, then the image
is both easier to take in initially and harder to resolve in any finite
way.
The development of my work has been a cumulative rather than reactive
process. Not since graduate school have I abandoned one way of working
in favor of another, and even in that case I think that the change from
representation to abstraction did not alter what I really wanted from
my work. The more or less recent introduction of illusionism into my work
is an example of a slow turn, and I expect that this is the way that I
will continue to work.
The Future Direction of my Work
Concurrent with my interest in the juxtaposition of spatial idioms has
been a re-emergence
of
my interest in the art of other cultures. I have long been fascinated
by the dazzling use of pattern in Muslim cultures and in the textiles
of various cultures in Africa. However, I am even more drawn to consider
the way in which different cultures choose to represent space. While the
legacy of linear perspective continues to dominate the visual culture
of the west, the visual heritages of China and India, by eschewing mimesis
in favor of more symbolic representations, point to other ways of envisioning
the self and the world. Inspired by my fascination with Chinese landscape
painting, I have recently begun a series of intaglio prints in which I
aim to introduce yet more idioms of spatial organization. I hope to be
able to begin to break the rigorousness of some of the patterns in my
work and play some more unexpected elements into the visual dialogue,
as in this untitled print ("Untitled," 2004, intaglio, 9" x 6" image).
In this image, elements of pattern overlap others and are also interrupted
by negative spaces that read as clouds or mist. I have also used atmospheric
perspective, in which forms that are farther away look lighter than those
that are close, to enhance the tension between the essentially shallow
space of the patterns and the implication of scale and distance that the
clouds introduce.
I am very excited about these ideas, and eager to investigate them. If
I am granted tenure, I intend to apply for a sabbatical leave for the
2005-06 academic year, during which I would explore these new developments
with the three-dimensional rendering software that I described above,
and also in a cycle of large paintings, drawings, and traditional prints.
I am optimistic that opening up my process to more accident and play will
help me to bring more of the surprise and insight that I long for into
my work.
Exhibitions and Scholarly Endeavors
My scholarship consists of my creative work in the studio (paintings,
drawings, prints, and digital images), exhibitions of this work (solo,
group, invitational, regional juried, and national juried exhibitions),
lectures and demonstrations on my art given at schools and conferences,
collaborations with other artists, and work curating or co-curating exhibitions.
My scholarship also involves travel to study both contemporary and non-contemporary
art, reading in my field (books and journals about art, artists' monographs,
and exhibition catalogs), and the pursuit of grants to fund my work.
A crucial aspect of my efforts as an artist is getting my work exhibited
so that people can see it. Typical outlets for me are college and university
galleries and community art centers. I have sought a balance among three
types of exhibition opportunities: solo exhibitions, in which I am able
to show a significant amount of my work and have control over its installation;
two person or small group exhibitions, in which I show a body of work
in dialogue with that of other artists; and large group exhibitions, where
my work is seen in the context of an array of art by an array of artists.
Because of my control over the installation of my work, solo shows have
the advantage of making the exhibition an extension of my intentions within
the work, while group shows help to make my interests clear by contrast
with those of other artists. I have sought group exhibition opportunities
that I thought would put my work in good company, would include my work
in an interesting investigation of an idea or approach, and were being
juried by interesting and expert jurors.
Since arriving at HWS, I have had 9 solo or two person exhibitions. In
that same period I have been asked to exhibit in 8 invitationals, and
have had work accepted into 3 regional juried exhibitions and 9 national
juried exhibitions.
Lectures, demonstrations, and visiting artist opportunities are another
aspect of my scholarship. In the last four years, I have been invited
to present my work at six schools around the nation. In 2003, I conducted
a workshop called "Photoshop as Process: Looking Beyond Special Effects,"
at Westmoreland Community College, and co-presented a paper in 2002 with
Professor Michael Tinkler called "Voices from an Art Department," at the
Blackboard: Building a Community of Learners conference at St. Lawrence
University in Canton, NY.
Collaboration has provided me with opportunities for unexpected growth
in my work. In 1999-2000, I worked with Professor Donna Davenport of the
Dance Department and a group of student dancers on an interdisciplinary
project that explored my ideas about pattern and relativity. This collaboration
in a time-based discipline helped me reconsider my ideas about narrative
structure.
Curating exhibitions has been another important scholarly avenue for me.
Curating allows me to explore interesting developments in contemporary
art and then present what I find to the community. It also helps me to
engage and develop relationships with artists and colleagues from other
institutions, through dialogue about contemporary art and through the
inclusion of their work in the resulting shows. Finally, curating exhibitions
provides an invaluable teaching tool by giving students direct access
to contemporary art by professional artists. Since arriving at HWS I have
curated exhibitions on the state of contemporary abstract painting ("Abstract
Matters," 1995), artists working with digital imaging and new media ("v.1:
artists working in digital media," 1999), and current trends in contemporary
painting ("Concurrence," 2001). In 2003, I co-curated, with artist Karen
Sardisco, another exhibition called "re/order," examining the work of
artists who restructure imagery and information. All of these exhibitions
took place at the Houghton House Gallery ("re/order" also traveled to
the Mercer Gallery at Monroe Community College in Rochester, NY).
I have twice received grants from the New York State Council on the Arts
(NYSCA), once to pursue my work and exhibit it in the community and once
to direct a children's mural project at the Geneva Free Library. I also
received a Special Opportunity Stipend grant from NYSCA to produce and
exhibit a cycle of digital images in Ithaca, NY. I have also applied for
grants from the New York Foundation for the Arts, the Elizabeth Foundation,
and the Constance Saltonstall Foundation for the Arts.
A final but very important aspect of my work is my travel to see art.
While my curatorial efforts have helped me keep informed of recent developments
in the field, it has been my trips to New York City to look at art in
galleries and museums and my conference attendance and participation that
have been most important. While I have also continued to read contemporary
art journals to sustain connection to criticism and theory, there is no
replacement for actually experiencing the work and interacting with its
practitioners. I have returned from New York City and my other travels
impressed, amazed, infuriated, informed, and invigorated. These trips
have had a direct and positive impact on my work.