The mysterious and malleable nature of water has been a continual source of inspiration for me. Whether I am working representationally from observation or abstractly from memory, water as subjectmatter has been a constant and reocurring theme within my work.
The work begins in direct contact with an observational experience. I work onsite in sketchbooks or with digital photography in order to discover what engages my eye. I look for graphic interest; shapes, color, arrangements of light and dark that I can extrapolate on. Once I develop a visual relationship with my subject, I return to the studio to begin the process of distilling what piqued my initial curiousity. The field notes combined with the well spring of remembered experience, work collaboratively to serve as the catalyst or the jumping o point for creating imagery.
The juxtaposition of observational and memory work allow me to engage with the subject and materials with a curiosity in regards to both, without being tethered to my own preconceivend notions of either. The end result being that I am able to approach the work with a sense of freedom that is both exciting and interesting to me in the making.
Coming from a background based mainly in representation, my greatest historical inuences in this shift to more abstract thinking have been Stuart Shils and Ken Kewley. Shils for his ability to move deftly between the observed and the remembered space, as well as his compositional fortitude. I look to the work of Kewley for his intelligent, sophisticated approach to materials and markmaking. It is my hope that somehow, in some fashion, their inuences drive me to making my own visual conclusions that result in making work that is expressly my own.