I think I like it if something was there, even if I put it there … although I started with things I found there … Sometimes I move things to where I like them better … I sometimes fool around with the things until you’d hardly remember they were things …
For more than five decades, corporate commissions and private amusements :
My practice put simply : a provocation and a response.
Today I think of my provocations like a Wilson Cloud Chamber, with multiple particle traces, like ideas colliding. The colliding particles may be from art history, personal experience, or something seen on a walk, an accident or something purposeful with the materials. I do not always supply the 'directive;' the experience one should have in being with the work.
I have interactions, with tools, the chemistry, and the machinery, the substrates. I remain fascinated by the variety of materials and techniques to affect the work and the final expression and a possible emotional response to a piece of work.
By myself I am inquisitive; and disquisitive if I can find someone. I am a print maker, mostly. I make pictures and take pictures, sometimes they are born of laughter, sometimes by pain; by study, or happenstance. Highly eclectic discrete series, often lens based to start, exploring the languages and grammars using familiar and sometimes idiosyncratic methods. The shifts in style, technique and subject matter, a highly playful evasion of aesthetic categorization. These are some 'places' I have visited, some I can not go back to, and some I can not leave. Some I have no records of the singular works that went their way with the lovers.
By myself I am inquisitive; and disquisitive if I can find someone. I am a print maker, mostly. I make pictures and take pictures, sometimes they are born of laughter, sometimes by pain; by study, or happenstance. Highly eclectic discrete series, often lens based to start, exploring the languages and grammars using familiar and sometimes idiosyncratic methods. The shifts in style, technique and subject matter, a highly playful evasion of aesthetic categorization. These are some 'places' I have visited, some I can not go back to, and some I can not leave. Some I have no records of the singular works that went their way with the lovers.
“It's not like a movement; anyway, movements no longer work; also, linear history has unravelled somewhat.”
Specific Objects : Donald Judd 1965.
Every Intelligent painter carries the whole culture of modern painting in his head. It is his real subject, of which anything he paints is both a homage and a critique, and anything he says a gloss.
Robert Motherwell 1951
Beauty brings copies of itself into being. It makes us draw it, take photographs of it, or describe it to other people. Sometimes it gives rise to exact replication and other times to resemblances, and still other times to things whose connection to the original site of inspiration is unrecognizable.”
Elaine Scarry : On Beauty and Being Just : 1998