Artist Statement 2016
While observing lichen in the beautiful Lake Country of Britain in1978 I had a deep realization. The truth is: all things are connected and part of one living whole. With complete clarity I understood we are as cells of one body, existing in unity. The intention of my work ever since has been to make this interconnectedness visible.
I soon began to find what appeared as repeated visual evidence that many ancient cultures also understood that all of life was one interconnected continuum. The evidence I refer to is found in much of prehistoric art where the depiction of repeated motifs form continuing circular patterns. These patterns link and employ the circle,labyrinth,arc,and spiral. There are numerous examples that this was a common theme in Palaeolithic, Neolithic, and early Bronze Age drawings and artifacts. I found it particularly apparent in the great spirals of Malta, Carnac France, and New Grange, Ireland.
We do not need to involve ourselves in the complexities of art history to consider the ramifications of this ancient realization.
History is a great mirror. Are their implications for our current situation? Are there possibilities we could gain contemporary insights by grasping the experience of the shared being-ness that the ancient circles seem to imply?
Quantum physics is postulating we are in fact all one entangled, inextricably connected field. Perhaps this visual legacy of ancestral wisdom can somehow assist us,bolster us, as we struggle to inform ourselves of the radical implications of our complete oneness as implied by the quantum world?
In my current work the spontaneous gesture of a circle is created again and again without erasure following the rhythm of the breath.
I witness unintentional patterns appear within seeming randomness.
A quantum explanation for this ordering may be coming clear.
Until recently I was sure these large ink drawings, were connected to previous zen practice which related them completely and only to the present moment without reference to past or future.
Yet paradoxically they may simultaneously refer to both.
Artist Statement 2015 - FIELD STUDIES
While observing lichen in the beautiful Lake Country of Britain in1978 I had a deep realization.The truth is: all things are connected and part of one living whole. With complete clarity I understood we are as cells of one body, existing as a whole. The intention of my work ever since has been to make this interconnectedness visible.
I soon began to find what appeared as repeated visual evidence that many ancient cultures also understood that all of life was one interconnected continuum. The evidence I refer to is found in much of prehistoric art where the depiction of repeating motifs form continuing patterns. These patterns link and employ the circle,the ring, labyrinth,arc,and spiral. There are numerous examples that this was a common theme particularly in Neolithic, and early Bronze Age drawings and artifacts. It is particularly evident in the great spirals of the Malta temples, in the Gavrinis in Brittany France, and at Knowth and New Grange, Ireland.
Perhaps the repeating rings and circles symbolize the wave action of particles currently discussed in quantum physics.
This has lead to a synchronistic connection with the quantum theory that we are indeed all one, existing within an entangled inextricably connected field.
I have much more to explore within the overlay of Neolithic art, the ramifications of these ancient realizations, current quantum information as it references my practice of repeating dots and circles.
I had been quite certain that these spontaneous gestures of my current work were completely of the present, as they repeat moment by moment. The circle is created again and again without erasure following the rhythm of the breath. I witness unintentional patterns appear within seeming randomness. I have connected these large ink drawings, to my previous zen practice which related them solely to the present moment without reference to past or future. Yet paradoxically they may simultaneously refer to both.
ARTIST'S STATEMENT - SPRING 2014
'l think therefore I am'.
Descartes' most famous quote.
This work is about quite the opposite; I am, because i do not think. Meaning, I am aware. therefore I am. The door to awareness can be the senses, and the most simple gestures will allow entry to an experience of consciousness.
All the pieces in this series are based on the most elemental gesture, that of making a mark. This act is then repeated consistently, without measurement, until it becomes a visible rhythm. Patterns seem to forrn and develop autonomously as the marks arrive on the surface of the paper. At times the dots can appear to carry a number of narratives, such as distant stars. various types of cells, architectural plans, references to the open book and individual pages of text.
This information is not intended. but a coincidence determined by the materials. Handmade paper is the primary material used, it is particularly sensitive to moisture. either in the atmosphere or on the surface and signiﬁcantly impacts the results of the drawing. This ambiguity combines with each dot. as it is made, moment by moment, allowing the work to function as a mediation.
Because the individual marks are in proximity they create, and become part of, a ﬁeld. Each dot is separate and essential to the field, yet paradoxically becomes submerged within it. Once created these ﬁelds have a dynamic quality. By recording their impulses. repeatedly sensing the space between each mark, the contemplative dimension can arrive and be offered to the viewer.
Artist Statement 2013 - INTERVALS
During the summer of 2012, my gallery Editart, arranged for me to travel to Barcelona and create a series of prints with master printmaker Masafumi Yamamoto. From Barcelona I travelled to the BAU Institute in Otranto Italy, and there, in this ancient southern town, my work underwent considerable transformation.
Perhaps ironically, in this historically rich and layered place, the paintings shed themselves of previous narrative qualities and I became wholly engaged with the materiality of my process.
Deliberately touching ink to paper of all kinds, the compositional focus of my practice became the dot. Working in the still and damp of an ancient castle cell allowing the repeating marks to follow the rhythm of my breath without erasure, the first patterns emerged and began to shift with the moisture in the environment. As sheets of repetitions continued, they evoked unintentional narratives relating to biology and astronomy.
The dot, this simplest of marks, is capable of evoking numerous complexities when repeated in pattern-like structures. It seems within these infinite variations there is an ordering principle. My intention is to explore how order emerges from seemingly random gestures.
Beyond the literal and philosophical something experiential arises through breath, body and materiality. Though I now employ a circle made with a single turn of the brush, or a zen enso, on canvas or paper, the initial activity of rhythmic repeating gestures remain.
One way I can understand this principle is to consider it in the context of quantum physics. I am concerned with how continuous mark making creates a field, registering activities and forms within it. How series of singular seeming random events, that begin again and again, eventually form discernible pattern.
The territory of my inquiry is between the relative and the absolute.