Wintermirror
For many years my work was insistently abstract with no direct descriptive references. However, I always had the hope that the work, in some way, evoked sensations of shifting light, open space, wind movement in clouds, trees, grasses and water; a fluid, ever-changing presence. In short, landscape has been a subject at the core of my intentions, but not the landscape of appearances, rather, landscape as immersive experience touching on all of the senses and distilled in memory.
The work presented here has it's source in a daily habit of walking along a small tree-lined creek. This walking ritual offered the repeated experience of gazing at the water's movement, the light glistening at the surface, the pattern of rock on the bottom, and in particular, the reflection of the trees and sky in the water. All of these visual events occurring simultaneously is richly ambiguous. Ultimately, I found this open attention to something in continual flux producing an experience of stillness. Only after the fact did I recognize that this series of images is a response to that time spent with the creek. It was and remains a welcomed surprise.
The digital medium makes possible a complexity of qualities that are not practical if executed by hand. An exaggerated pixel texture dissolves the image into complex veils of color interaction. I regard the obvious pixel as equivalent to surface and mark in painting.
For many years my work was insistently abstract with no direct descriptive references. However, I always had the hope that the work, in some way, evoked sensations of shifting light, open space, wind movement in clouds, trees, grasses and water; a fluid, ever-changing presence. In short, landscape has been a subject at the core of my intentions, but not the landscape of appearances, rather, landscape as immersive experience touching on all of the senses and distilled in memory.
The work presented here has it's source in a daily habit of walking along a small tree-lined creek. This walking ritual offered the repeated experience of gazing at the water's movement, the light glistening at the surface, the pattern of rock on the bottom, and in particular, the reflection of the trees and sky in the water. All of these visual events occurring simultaneously is richly ambiguous. Ultimately, I found this open attention to something in continual flux producing an experience of stillness. Only after the fact did I recognize that this series of images is a response to that time spent with the creek. It was and remains a welcomed surprise.
The digital medium makes possible a complexity of qualities that are not practical if executed by hand. An exaggerated pixel texture dissolves the image into complex veils of color interaction. I regard the obvious pixel as equivalent to surface and mark in painting.
