I have always worked in series—streams of thoughts and desires common to us all, represented by images. I see the images as signs of the material world, intimations of the nonmaterial. At first my series were narrative, encompassing quotidian aspects such...
Read MoreI have always worked in series—streams of thoughts and desires common to us all, represented by images. I see the images as signs of the material world, intimations of the nonmaterial.
At first my series were narrative, encompassing quotidian aspects such as romantic love and building construction. And I considered ideas—enlightenment, science, memory. Now I am thinking about nature and our planet, as so many of us are. My intention is to paint about the inevitable beauty, portal to the sublime.
For my series, I think a long time about what I want to talk about, then I photograph that idea and use those photographs as the basis for eight to twenty paintings, all of which have typically been on one or two supports. The series I am working on now, Natural History, is a little different. It comprises 33 separate canvases.
The Natural History paintings can function as a sign of nature, and one painting can signify the entire series. They can be shown by being scanned and enlarged, as a public presentation, or made smaller for private use, like a personal icon.
For a long time, I have been working on the Natural History paintings. It is a slow process. The paintings are all based on photographs of trees that I have taken, photos that I have laid out in a pattern that represents a Fibonacci series of numbers.
