The importance of color (chroma) is not to be underestimated. Color works as a visual stimulus producing psychological and physiological effects. Its deep cultural significance, based on centuries of learned symbolic associations, pervades every aspect of our societies. Color terminology – the very language used to describe colors – is based on culturally specific vocabularies that structure, and often limit, how we experience and describe color perception. In the history of painting color has long been an agent of expression, often compared to music in its range of chromatic tones and harmonies. read more »

Uncertain Pairings

The starting point for this series is the idea of balance and imbalance — or, more specifically, investigating the dynamics of balance within a work of art. The works in my earlier "Ebb and Flow" series were balanced and symmetrical (consisting of two opposing squares), but in this series I wanted to explore asymmetrical balance and imbalance. On one level this approach is a fundamental element of design, something I was quite aware of as I worked with all white templates making preparatory studies. read more »

Ebb & Flow

This work was initially inspired by the ebb and flow of the tide, a natural occurrence often used as a metaphor for the fluctuating patterns of energy and activity within human life. As an artist, I equate the ebb and flow of my own life with two distinct types of 20th-century art: the painted color field, usually associated with calmness and meditation, and the drawn gesture, typically considered energetic and spontaneous. In the development stage of this series, I decided to explore the tension of the color field and the gesture when paired with one another. read more »

Landscape Series

My interest in landscape stems back to early childhood, to the hills and woods surrounding our home in Pennsylvania. During my undergraduate training I studied painting and was enamored with Abstract Expressionism, but I also took photographs of old buildings and industrial landscapes that I used as source material for my work. This connection continued in graduate school, where I made a number of process-oriented pieces based on aspects of human interaction with the land. Gradually the conceptual focus of my work narrowed and I thought less about landscape as my painting practice became increasingly abstract and systematic. read more »

Art History

The initial impetus for this series was the exploration of color, sampled from historical paintings of particular visual and conceptual interest to me. The color schemes of the source paintings were then reinterpreted into geometric abstractions that utilized my own existing vocabulary as an artist. In the process of creating the first few prints I developed an interest in capturing some essential element of each source painting –perhaps the compositional structure, tone, or subject matter – that I have tried to translate into the prints. read more »