2013-2014 A Mind's I
In the current series of paintings I explore the relationship between the physical world of our senses and the ephemeral world of energy.
Science tells us every object can be reduced to a moving vibration (energy); our senses tell us things are solid, movable only thru physical action. To understand this paradox, humans have created Religions to explain our emphemeral state. These have created consequences such as war, famine, and environmental devastation. Those who reject the existance of the emphmeral, believing only in their sensory input, have lived for rewards of physical world. These too have come with consequences, such as war, famine, and environmental devastation. What is going on here?
In sincerely asking that question, I found myself drawn into the world of Quantum Physics, into ancient energy practices, into occult symbols, and into our anatomy. Cooking with all these ingredients, I found the need to spice them with a bit of irreverant humor, a necessary ingredient I think, lest the stew becomes too dogmatic to taste.
The resulting series is presented in scroll- like fashion hung from driftwood pieces. The presention itself is a symbolic gesture, nodding to the timeless nature of the questions addressed.
2008-2012 End Of Times
Exploring the themes of pollution and its many
manifestations, this series of paintings is a critique of our times, as well as an examination of our values and responsibilities.
The imagery of this series juxtaposes nature and industry, in most absurd ways, to point out the our over-consumption of raw materials. Included in this series is the investigation of pollution in personal as well as global terms, ie. the pollution of our minds, belief systems, and individaul actions.
Balancing the doom and gloom that such a societal critique would bring, humor and symbolism offer subtle expressions of hope and potential, signaling that all is not lost.
2007 Time is Now
A series of working sundials and grears, made to resemble the innards of a watch, stand as evidence that Time is not a fixed thing, but a relative expereince.
The sundials show Time in three different locations, reminding us of both the origins of time-keeping (the Earth travelling around the sun) and pointing to the idea that although we may experience Time as a certain number on a clockface here, that number is different all over the world at the same Time!
I creating this interactive sculpture, I was paying homage to the great Sun and the great Earth which make man's inventions (like the sundial) possible.
2000 Healthcare is Dead
The focus of my thoughts and therefore the focus of my work was the absurdity of the Healthcare system in the US.
Using found medical objects, such as a walker, a hazmat suitcase, magnifying lenses, and a medical transport case, I transformed each item by adding whimsical appendages, and creating a story about the its function thru brochures, flyers and "operating instructions".
Each objects purpose was twisted into a disfunctional and mysterious role. In doing this I was hoping to elicit the same feelings of bewilderment that arise when dealing with the medical system.
1998-2000 Off the Wall
In the series Off the Wall, I was exploring the idea of emotion in connection to materials that were incongruent with their function.How does it feel to be in a computer lab made out of cardboard? What emotional response is evoked when we are confronted with a boat hanging over a sandy desert? How do you feel when a climbing wall beckons your adventurous spirit only to find out its handholds are made of a material that would never support your weight? What does it make you feel to see cardboard watercoolers filled with paper or a zen garden made out of ziplock bags?
In pairing materials and subject matter that were incompatible, I was exploring the polarities that exist in Nature. From day/night, male/female, hot/cold etc, we live in a world of opposites. These opposing forces are nonetheless reconciled and harmonized, creating a fragile balance. What happens when the balance is intentionally upset? How do we handle the discomfort and uncertainty that arise when things are not in harmony?
By delibrately creating objects that resist our sense of rationality and order, can we safely explore the feelings of discomfort created by such incongruency? Can the exploration of such feelings lower our resistance to that which we deem unsuitable in our own lives, therefore creating harmony?