I’ve always seen form as a condition for art, and forms as architecture as a condition for integrating art with architecture. When I begin a work, I visualize the basis for constructing forms, as textures or patterns. Sometimes the foundation for the work is fractured geometries where composing architectural gestures suggests a contradiction between the two.
My work in colors, pattern, distortion, through layering of content, seeks to establish context as a canvas to arrange these structured forms. I draw by hand using a digitizer tablet directly into the computer, as if holding paint on a brush. Decisions beginning to end challenge my sense of order, my belief in color, my convictions of the relationship between art and architecture.
For my art glass, I utilize a Durst Lambda RGB laser to expose large format photographic film, driven by my electronic file, which I then laminate between optically clear low iron glass. I am able to achieve what I see working electronically as a final piece offering luminosity and transparency while projecting the artwork colors onto adjacent surfaces for a greater result. For my print work, I employ giclée printing technology with museum papers for an archival signed, numbered print.
I strive to create finished works that appear as tangible, plausible interpretations of forms and their relationships to light as unique compositions. The conversations between light, form, and color offer striking images seeking to evoke an art and architecture co-dependent and integrated.