Featured in
New American Paintings
Catalog nos. 20 and 38
A juried competition in print
published by Open Studios Press
and
Studio Visit Magazine
a juried survey of contemporary art
published by Open Studios Press
coporate collection, DeCordova Museum, Lincoln, Massachusetts
Artist Residencies
June 2013 BAER Art Center Hofsos, Iceland
Selected Solo and two-person Exhibitions
Selected Group Exhibitions
Selected Corporate Collections:
US Department of State
Gregory Simmons Group
Fidelity Investments
Ritz-Carlton Hotels
Marriott Hotels
Westin “W” Hotels
Meditech Corporation
MFA Companies
Hilton Hotels
Greenfield and Lynch
Four Seasons Hotels
Biogen-Idec
Loomis Sayles and Co.
Le Meridien Hotels
Hyatt Place Hotels
Hotel Viking Newport
My work is driven by the natural world, and in many respects by how we experience it. I see my work as pictures about juxtaposition- of things to other things, of us to the world around us.
I’m interested in how we relate to the world, the outer spaces we take in. I use landscape as the entry for the work. Sky, land, water, place. I’m drawn to these spaces, but also drawn to how we experience them- particularly through images, and how the language of images informs that experience. We take in physical space differently than those who lived before us. Photography, film, the frequency of imagery- these daily intakes help define how we see the world around us. It’s what we see, and how we see.
The images I create aren't the things they represent- they're not clouds, not land. They're just substances on surfaces, creating illusion, standing in. This push/pull of illusory space against other types of marks, more abstract in nature- it’s a back and forth dialogue that speaks about the beautiful artifice of image as much as anything else.
In some of my pieces, this dialogue is barely present...in others, it plays front and center. Sometimes the work feels fairly straightforward in its illusion, while at other points the dialogue of abstract mark against illusion takes center stage. We see identifiable things in abstraction, and abstract relationships in representation.
I’m not necessarily interested in beauty for its own sake, but it’s fine if that becomes the hit for others. I start with a goal, but in the end the work always determines the statement it makes. I prefer to let that happen. In the end, no artist can really control another’s experience with their work, so to be too concerned with that feels like an empty pursuit. I just make it, and then it exists. From there, it’s for others, if they want it.
The subject of the outside world around me is a rich and endless mine- I just continue working in my response to it. It helps me place myself, yet also think outside of myself. In the end, all art is a collective of voices from a point in time. I’m just adding mine.