My work is about drawing...about crossing the line. Over the years, the work has become comfortably less representational, focusing more on the reduction of shapes and forms to reflect the interaction of color, the energy of paint, and the way the paint – the physicality of painting — documents a personal dialogue of spontaneous movement that finds form as a visual statement. It’s about my dedication to the architecture of anatomy, of shapes I arrange and adjust. I work in series, a process that begins with sufficient numbers of drawings to continue idea-to-canvas. My lexicon stems from architectonic restrictions of the Bauhaus and Shaker design, 18th C. erotic Japanese prints, Russian Constructivism, religious symbols, Chinese medicine labels and vintage comic books. It is also supported by my first job after art school; eight years as an art restorer at the Metropolitan Museum of Art, with its vast inventory — confirming both the universal truth that art begets art — and my compulsion to create and continue the dance.
New York City, 2017