My art is primarily is about exploration
materials - ideas - form
My process usually begins with a vague idea, often it begins with an investigation of materials, and a concept follows. In my work, as in life, changes inevitably occur. As much as possible I try to go with these transformations, and often find that intuitively they are some of my best decisions. The resulting art object may be extraneous to this process. Other times my work is totally object driven.
I lean toward immediacy of mark making; removing the ego from the art piece in order to see clearly through to its essence. The process allows an organic relationship to be formed between the work and myself.
For me the notion of a world in constant flux, a world without certainty, a world of nonsense, a world where even scientists must admit no absolutes, is important to my understanding of my surroundings.
Life is a fantastic mystery, and I wonder about origins, and destinations… Questions without answers are the most important kind. Necessarily not knowing the answers. "…When we don't accept or follow, but question, investigate, penetrate, there is an insight out of which comes creativity." (j. Krishnamurti)
If there is one thing I am sure of, it is that the life of an artist is forever being created, and re-created.
I am interested in · Living in the moment · Seeing the simple within the complex · Finding the extraordinary within the mundane · The unexplainable - the intangible- the unknown · What constitutes beauty, where it is to be found, and why · I am not interested in · Making Art that shocks · formulas, or prescribed notions of what constitutes a work of art.
I use primarily repurposed materials. Always frugal, always collecting, always finding use for things others discard.
I received my BFA from the University of New Mexico in 1996, and have exhibited extensively both nationally and locally since 1994
materials - ideas - form
My process usually begins with a vague idea, often it begins with an investigation of materials, and a concept follows. In my work, as in life, changes inevitably occur. As much as possible I try to go with these transformations, and often find that intuitively they are some of my best decisions. The resulting art object may be extraneous to this process. Other times my work is totally object driven.
I lean toward immediacy of mark making; removing the ego from the art piece in order to see clearly through to its essence. The process allows an organic relationship to be formed between the work and myself.
For me the notion of a world in constant flux, a world without certainty, a world of nonsense, a world where even scientists must admit no absolutes, is important to my understanding of my surroundings.
Life is a fantastic mystery, and I wonder about origins, and destinations… Questions without answers are the most important kind. Necessarily not knowing the answers. "…When we don't accept or follow, but question, investigate, penetrate, there is an insight out of which comes creativity." (j. Krishnamurti)
If there is one thing I am sure of, it is that the life of an artist is forever being created, and re-created.
I am interested in · Living in the moment · Seeing the simple within the complex · Finding the extraordinary within the mundane · The unexplainable - the intangible- the unknown · What constitutes beauty, where it is to be found, and why · I am not interested in · Making Art that shocks · formulas, or prescribed notions of what constitutes a work of art.
I use primarily repurposed materials. Always frugal, always collecting, always finding use for things others discard.
I received my BFA from the University of New Mexico in 1996, and have exhibited extensively both nationally and locally since 1994
The nature of a work of art
is not to be a part, nor yet
a copy of the real world
( as we understand that phrase)
but a world in itself,
independent, complete; autonomous;
and to possess it fully
you must enter that world
conform to its laws,
and ignore for the time the beliefs
aims, and particular conditions,
which belong to you
in the other world of reality
(Oxford lectures on poetry Professor Bradley 1901)
is not to be a part, nor yet
a copy of the real world
( as we understand that phrase)
but a world in itself,
independent, complete; autonomous;
and to possess it fully
you must enter that world
conform to its laws,
and ignore for the time the beliefs
aims, and particular conditions,
which belong to you
in the other world of reality
(Oxford lectures on poetry Professor Bradley 1901)
Recent EXHIBITIONS
2022
DIGGING IN THE DIRT, Solo Show, Ocean House Gallery, South Portland, Maine
2021
MAPS (Maine-Aomori Print Society) Lewis Gallery at the Portland Public Library, Portland, Maine
2020
MAINE FLORA 3 VIEWS, Harlow Gallery, Hallowell,Maine
NANO: An Exhibition of Super Tiny Artwork, (conceived and curated), Engine, Biddeford, Maine
ARTPM, Buoy Gallery, Kittery, Maine
2019
PECHA KUCHA: Engine Gallery, Biddeford, Maine, Atlantic Hall, Cape Porpois, Maine, Rockport Opera House, Rockport, Maine
MAPS (Maine-Aomori Printmaking Society) Waterfall Arts, Belfast, Maine, Edwards Art Gallery at Bowdoin College, Blake Library at UMF, Fort Kent, Maine
ART IN BLOOM, Subterranean Temple of Art, Staff Gallery, Portland Museum of Art, Portland, Maine
PMA STAFF BIENNIAL EXHIBITION, (conceived and curated) Portland Museum of Art, Portland, Maine
TINY PRICKS PROJECT, Speedwell Projects, Portland, Maine
THE TINY SHOW, Hen House, Washington, DC
WILD RUMPUS, Engine Gallery, Biddeford, Maine
2018
PRINT EXCHANGE, Aomori, Japan
INFLUX, Pepperell Mill Campus, Biddeford, Maine
ROCKLAND SCULPTURE RACE, Rockland, Maine
WILD RUMPUS, Engine Gallery, Biddeford, Maine
2017
SMALL WORKS, Ocean House Gallery, Cape Elizabeth, Maine
ROCKLAND SCULPTURE RACE, Rockland, Maine
PMA STAFF BIENNIAL EXHIBITION, (conceived and curated) Portland Museum of Art, Portland, Maine
A CONVERSATION WITH HISTORY, Historical Society of Wells and Oqunquit, Wells, Maine
FLOWER BOMB, Solo Show, Mechanic’s Hall, Portland, Maine
Full CV availble HERE
2022
DIGGING IN THE DIRT, Solo Show, Ocean House Gallery, South Portland, Maine
2021
MAPS (Maine-Aomori Print Society) Lewis Gallery at the Portland Public Library, Portland, Maine
2020
MAINE FLORA 3 VIEWS, Harlow Gallery, Hallowell,Maine
NANO: An Exhibition of Super Tiny Artwork, (conceived and curated), Engine, Biddeford, Maine
ARTPM, Buoy Gallery, Kittery, Maine
2019
PECHA KUCHA: Engine Gallery, Biddeford, Maine, Atlantic Hall, Cape Porpois, Maine, Rockport Opera House, Rockport, Maine
MAPS (Maine-Aomori Printmaking Society) Waterfall Arts, Belfast, Maine, Edwards Art Gallery at Bowdoin College, Blake Library at UMF, Fort Kent, Maine
ART IN BLOOM, Subterranean Temple of Art, Staff Gallery, Portland Museum of Art, Portland, Maine
PMA STAFF BIENNIAL EXHIBITION, (conceived and curated) Portland Museum of Art, Portland, Maine
TINY PRICKS PROJECT, Speedwell Projects, Portland, Maine
THE TINY SHOW, Hen House, Washington, DC
WILD RUMPUS, Engine Gallery, Biddeford, Maine
2018
PRINT EXCHANGE, Aomori, Japan
INFLUX, Pepperell Mill Campus, Biddeford, Maine
ROCKLAND SCULPTURE RACE, Rockland, Maine
WILD RUMPUS, Engine Gallery, Biddeford, Maine
2017
SMALL WORKS, Ocean House Gallery, Cape Elizabeth, Maine
ROCKLAND SCULPTURE RACE, Rockland, Maine
PMA STAFF BIENNIAL EXHIBITION, (conceived and curated) Portland Museum of Art, Portland, Maine
A CONVERSATION WITH HISTORY, Historical Society of Wells and Oqunquit, Wells, Maine
FLOWER BOMB, Solo Show, Mechanic’s Hall, Portland, Maine
Full CV availble HERE
Experiencing Christo and Jeanne Claude's 'Gates' in Central Park
"Everything that happens in my day is a transaction between the external world and my internal world. Everything is raw material. everything is relevant. Everything is usable. Everything feeds into my creativity." (Twyla Tharp)