Thank you for viewing my website. The following reflects my own
personal theories and concepts that I have developed over the years
that pertain to my visual aesthetic.
Rhythm, first of all, is what orchestrates the structure of the surface of
a canvas or object. It builds the composition by creating tension
between the positive and negative spaces. Using elements of line,
colour, and form, a work of art is first and utmost comprised of these
elements to create balance, which I find to be the cornerstone of a
I sometimes use jazz improvisation as a device that can inspire rhythm.
It also liberates me from the existing limits of physical media, such as
structure, line and form. Whether listening to jazz or playing my
saxophone, improvisation brings me closer to a true sense of visual
tempo, which in turn brings fresh ideas and concepts to my material
Along with rhythm, Mother Nature provides inspiration that, in many
ways, promotes creativity and creates subject matter.
Growing up on the Gulf coast in central Florida allows me to witness
many beautiful things in nature. The juxtaposition of wild roots, vines,
trees and swamps tantalizes my imagination. To be able to not copy
that "thing", but to realize it's essence and capture it's flawless
rhythm is what brings me to painting.
Rhythm and composition are very important, but only as preparatory
components. The subject matter becomes the gravitational force of
the whole, bringing purpose to a piece.
My approach to finding subject matter is similar to the way the
Surrealist sought out theirs. I use the device of automatism, just as
they did. This idea, which was brought forth by the great surrealist
writers such as Paul Eluard, Rene Crevel and Tristen Tzara , was
called "automatic writing" and was just that. One would take a pencil
and blank paper and just start writing. The key was to keep writing
without stopping or thinking about what is being written. The end
result, ideally, would be to have word associations with no logical
order; meaning the thoughts came from beneath the conscious state of
mind (very Freudian).
As soon as the practice of automatic writing became known to the
artist of the time, it was quickly absorbed and turned into automatism.
This use of automatism is executed in the same fashion as the writers,
using paint (or whatever) instead of words of coarse.
So what's my point? Well, I use automatism as a device in my painting.
It's a meditative state of mind that allows me to bring out imagery
that I later find to be very nostalgic at times. When I paint like this,
my mind will wonder off. I'll forget that my hand is moving across the
canvas. I'll often think of things from the distant past, things I haven't
thought about in years. It becomes a trance.
After my intense bout with automatism, I sit and examine what lays
before me. This is when the painting begins to take shape. I have a
process I call "Build and Destroy" and it is just that. Build up the
surface. Destroy the surface. This process is not for the weak of
heart. It only works when you destroy it when you think it is nearly
finished. Only after many, many layers of this process do I feel the
piece has the depth for the final layers, which usually have the most
The painting then begins to breath and come to life.