It is difficult to write a statement that encapsulates all my work, my landscapes reference Surrealism and my people are a homage to German Expressionism, two very different movements. Much of my other work does not fit into either category. Hence I offer two different art statements for the two major bodies of work I produce and a simple observation: I feel the defining aspect of my work as a whole is my style. Being older when I entered a formal program I had established and refined my own style first, I am an American Naive artist who was then formally educated in technique and theory. I am glad that I refined my style first then learned technique and then learned theory. I feel this chronology worked for me as an artist.
I remember when I was a teenager describing surrealism as a blend of abstract and realistic art, but as I said it I realized it is not true, most surreal paintings are in no way related to abstract paintings. However, in 2004 I started to draw abstract designs of circles and lines and then turn the various spaces created into representational forms, landscape forms. When I realized that I was combining abstract and representational work I remembered my youthful comment. I turned over the idea of using abstract designs and realism together in my mind for decades and found it did indeed lead to surreal paintings.
I have heard it said that we are all in the same place looking out through different eyes. To represent this dynamic I use the runny ethereal backgrounds to represent where we look out from. At the same time, it creates the space where the disconnect and the isolation that we experience as individuals occurs. As faces peering out from this commonality - we are all expressions of various aspects of the greater singular human spirit.
My father gave me my first set of paints when I was 15 years old. Combined with the creative influence of my older siblings and my Moms willingness to make regular trips to the National Gallery of Art, I was fascinated for life. After high school I took some art classes at Frederick Community College in Frederick, Maryland, USA, and enjoyed it as a hobby for decades. Then in 2002 I entered the Fine Art Painting program at Buffalo State College, in Buffalo, NY and studied the painting techniques of the Old Masters for three years. I followed that with a year at Simon Fraser University in Vancouver, BC, Canada studying Studio Theory. I received a great education, but never acquired a degree, yet Art became more than a hobby.