An art enthusiast approached me with two burning Questions; "How did you..." and "What do you... "
I'm never really sure how to answer these types of questions without bursting into artistic rhetoric.
If you'd have asked Francis Bacon, he'd have said; "The job of the artist is always to deepen the mystery." By nature, I'm a hyper-active chatterbox who can go on for days at a time ranting about art technique, theory and philosophy.
Yes, I'm a right-brained power nerd.
To a point, I agree with Mister Bacon; nothing spoils the rabbit-out-of-the-hat trick more than knowing that the rabbit was hiding in a secret panel all along. However, I also feel that giving a viewer a peek into an artist's methodology not only helps to make their work more accessible but also more tangible. So with this page I hope to satisfy both points by answering as many questions you might have in as vague a manner as possible...
I have often been asked what I have
against working digitally. I don't have anything against working with
vectors per se, in fact, many of my proposals and concepts utilize
digital methods. But for my final production, it's traditional all
the way. I take my cues from the great masters. I paint on wood
panels. For me, they introduce a beautiful, organic sense of
imperfection that I feel compliments my tight, graphic style of image
making. My work is my legacy and it would kill me to see it vanish
during my own lifetime. I think of when I stood within the Sistine
chapel and beheld Michelangelo's ceiling. It's been centuries since
it was created, and yet the master reaches through time and connects
with me. That's something I want my work to do for future
Digital media is simply not capable of offering
None the less, having my work mistaken
for digital output or even screen printing stands as a testament to
my compulsively meticulous nature and methodology. I am reminded of
Rodin – my greatest influence, and how he was often accused of
making life-casts of his models. In truth, though I often work from
photo reference (be it found images or material that I shoot myself),
all my work begins as a hand-rendered drawing.
Always has, always will.
I feel that there's an art to art that
many self-proclaiming artists fail to embrace. My work does not
merely begin and end with the final image; it starts with the pure
pigments I mix my paint from and ends with my signature. From glazing
and brush techniques to sacred geometry and the golden ratio, my
methods parallel the old traditions, just applied to contemporary
themes. That said, I also believe it is vital to push forward and
challenge myself. I am forever exploring new ways to present my
vision without sacrificing longevity. Put simply, to stop learning,
growing or developing – in my opinion, would be creative suicide.
In my observations, I have watched
society evolve with our technology by training us to absorb a great
deal of information with light-speed intensity. This I feel, has
caused us to become an impatient people with a tiny, collective
attention span. Recognizing this shift in communication, I altered my
visual language to eliminate whatever I consider to be unnecessary
information. Abbreviate. It's the difference between babbling and
being articulate. In this way, I hope to invite the viewer to fill in
the gaps with their own content as a sort of visual ad-libbing. In
the end, my goal is to open a dialog, perhaps subliminally, and
present an after image that lingers in a viewers mind.