My next show will open at ArtWorks Gallery in Cedar City, Utah on November 17, 2017. Both the exhibition and its special opening event are entitled Engine of Color/Motor of Form. The title is taken from May Swenson's 1960 poem At the Museum of Modern Art. The evening promises to be a special one, as I am honored to have poet Nathaniel Taggart as a collaborator. Nano will read from a new group of poems for the occasion, and my new paintings will include a series inspired by Nano's poetry, and by that of May Swenson, for the discovery of which I am sincerely grateful to my collaborator. The show will continue into the second half of December. I want to thank Linda Kiley again for coordinating with Nano and, of course, for continuing her splendid representation of my paintings at Art Works Gallery.
What if the formal foundations for abstraction and non-objective art had developed organically alongside classical naturalism, beginning with the early Renaissance at the start of the 15th century?
Imagined this way, the stigmas of empty innovation for modernism’s sake—so often attached to modern art of the 20th century—and empty mimetic copywork for tradition’s sake—an attack still often leveled against the western canon by modern scholars—might never have materialized, allowing instead for the gestation of a rich amalgam of these two strains of European art.
I begin each painting by considering a different period, style or school of art from the past, or the output of a single artist at a given moment in her career. I then try to identify those features of the art which are most likely to survive the translation from representation to abstraction, or from one form of abstraction to another. This is a personal process of formal response to visual prompts, not a disciplined analysis. I make no claim of accuracy, nor even of credibility for the images that result. If the viewer bears my premise in mind while viewing the paintings, however, both the differences and the consistencies among them will probably make more sense.