I am very invested in the physical activity and the decision-making that is involved with making paintings - nothing else is quite like it.
The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.
I have been interested in the dialogue of abstraction and modernist painting - and the rich history of the grid. I also think I have been influenced a bit by some of the particular qualities of the Bay Area. The weather and the atmosphere here is so exotic, like the fog rolling in and the nuanced differences in the quality of light.
I'm interested in how paintings can change or transform - sometimes through close examination or viewed from afar; or how they hold the space of a wall or interact in a room with each other.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I have, and do sometimes, work with other media. But there is something about the physical activity and the directness of painting that I find fascinating. I am very attracted to the materiality of paintings and the visual phenomena of hue and value.
I moved to Chicago and began attending the School of the Art Institute of Chicago. The students and teachers I met in Chicago were politically active and also passionate about the same things that I was interested in. It was a great match for me.
In the late 60's I was enrolled at Occidental College majoring in philosophy and taking several studio art classes, but I dropped out. It was a very confusing time with the war in Vietnam and the social changes sweeping the nation.
My life as a painter influences my teaching and my duties as president of CCA - and I hope some of the experience of working at an exciting art school also spills over into my studio work. I believe most artists are adept at juggling multiple responsibilities - whether it's work, teaching, caring for family members or attending to relationships - with their studio commitment.
My studio work is a central part of my life and I'd be at loose ends without it. When I'm not in my studio, I don't stop thinking about painting.
Only at the end of the last stroke of paint, you can begin to wonder what needs to be done next.
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