Beyond developing abstract art, I want to develop abstract thought. The art object is only a documentation of the evolution of an artist; the real worth and value are within, manifesting and furthering him into a greater, more responsive and changing being.

My art is liberation from repetitive actions and pre-determined outcomes. The creative process enables me to transcend intention and to decipher the undercurrents of imagination. It is a venue for variation and personal discovery.

Themes I address through my work are exploration, transformation, intuition and chance. These subjects are engaged through the use of diverse working methods, materials and applications with a focus on composition, color and space. The development of these elements produces art object-documents that are individual and accurate, portraying states of being through periods of time.

are the current focus of my work and begin by constructing manufactured, recycled, and natural objects [1]. These items are arranged and adhered to a surface and then encapsulated in acrylic latex paint. The variability of textures derived from diverse objects creates pronounced relief and rhythm [2]. Undetermined and fluctuating orientations are part of process. Monochromes and ambient blends of color allow relief to maintain focus foremost. Finishes range from high gloss to powdery matte.

The Capsules suggest that applying multiple layers of paint corresponds to time, the assembly of various materials beneath to memory. These memories accumulate throughout our lives and create a basis upon which we define ourselves. Time alters our memory into a subjective representation of the original. This reflection is colored by our individual understanding of our self and how that relates to the external world.

inherently allows the possibility for re-contextualizing abstract and representational images. This enables the impact of recognizable and powerful photos and symbols to be readily incorporated into the work without rendering them [3]. Drawing and painting appear on some of the collages [4]. The contrast between the arrangement of specific pieces and my physical markings creates a more diverse language, widening the scope of communicative faculty.

Near infinite possibilities arise from the combinations of availability, placement and quantity of materials positioned on a work before being adhered. The organization, selection, manipulation and rearrangement of collected printed information lends itself well to honing sensitivity toward randomization and the dynamics of chance.

reveals the ongoing search and discovery of new materials, modalities and forms. Early painted arrangements and partial interiors systematically digressed from conventional realism [5]. Eventually composing without reference; I developed more personal and unique visual concepts [6]. Soon after, surface orientation was in constant flux during process [7]. While painting, I would rotate the surface and continue without a definitive orientation. Large scale work was brought to the floor, would remain stationary and I changed my physical reference [8]. More recent work in mixed media has expanded my palette significantly, while blurring the roles of adhered materials and applied markings [9].

In relinquishing the variables of control I did not necessarily find control, but became accustomed to not having it. By not adhering to any style or theme, I achieved a more universal balance and openness in the work through the context of accident, confusion, and disassociation. These states request focus on what is essential. This is then actualized through instinct and intuition. I feel this allows for further questions into creative processing.