Portfolios > Memory Series 2010-Present

Tethered Hands Lead to Angry Clouds and Empty Speeches While the Fish Watches Quietly From His Corner
Acrylic, Spray Paint, Marker, and Graphite in Panel and Canvas
48" x 114"
2017
Heroes, Villains, Pasts, and Palimpsests
Acrylic, Spray Paint, Marker, and Graphite on Panel
48”x12”x12”x12”x12"
2017
Vague Moments of Clarity
Acrylic on Panel
48" x 48"
2016
Plush Toys, Ice Cube Trays, Mannequins, and Veils
Acrylic, Graphite, Spray Paint on Canvas
36" x 36"
2016
To the Brink
Acrylic, Graphite, Marker, and Spray Paint on Paper Collaged on Panel
41.5" x 76.75'
2014
Sifting and Sorting
Acrylic on Panel
72" x 96"
2015
Everything's Fantastic!
Acrylic and Marker on Panel
65" x 96"
2014
Recycled
Acrylic and Graphite on Panel
96" x 210"
2014
Past Meets Present
Acrylic on Birch Panel
46.25" x 31.5"
2013
Achromatic Interruption
Acrylic on Birch Panel
48" x 48"
2013
Precarious
Acrylic on Birch Panel
48"x48"
2012
Intermittent Lucidity
Acrylic on Birch Panel
45"x48"
2011
Mesmer
Acrylic and Paint Pen on Birch Panel
48" X 48"
2011
Over/Under
Acrylic on Birch Panel
48" X 48"
2011
Don Quixote's Folly
Acrylic, Spray Paint, Paint Pen, Silk Screen on Panel
79" x 84"
2011
The Whole is Greater Than
(photo by Alan Skees)
Acrylic and Silk Screen on Panel
96" x 293"
2011
Gaining Momentum (Corner Installation)
2010-2011
Photo by Alan Skees
Acrylic, Spray Paint, Paint Pen on Panel
96" x 192"
2011
Amalgamation
Acrylic on Paper Mounted on Panel
42" x 73.5"
2010
2014

In the ‘New Organon’, published in 1620, Francis Bacon uses the word ‘manipular’ to describe a way in which we order the world. The ‘maniple’ is the way in which we make sense of multiplicity, of the noise of the ‘infinite’ by holding that which is near in the finite space of the hand.* The information age has brought the noise of the infinite to us in ways that seem deceptively manageable, but often add to the confusion of our daily lives. Memory has both evolved and devolved simultaneously. Our ability to receive and assimilate a myriad of information on a constant basis has been enhanced through the Internet, smart phones, and other Wi-Fi connected devices. I have become interested in attempting to convey this multilayered process in a two-dimensional format. I seek to employ complex compositions that utilize color to both organize and confound space. By vacillating between a Munsell Color System, a more scientific and practical approach to color, and the traditional 12 step color wheel we were taught in school in the same painting, often in adjacent areas, we see how different complementary pairings can activate and enhance the spatial qualities of color. Utilizing multiple combinations of harmonies and contrasts of color’s physical properties allows planes to shift back and forth in our visual perception. When this use of color is combined with layers of traced portions of some of my previous paintings it creates a multifaceted history. As these tracings are juxtaposed, the reconfigured paintings begin to suggest the manner in which we store memories, assimilate and make sense of information. Color is central in formalizing the haphazard collection of my visual diary.


* Rosenberg, Terry E.. 2008. New Beginnings and Monstrous Births: Notes Towards an Appreciation of Ideational Drawing. In: Steve Garner, ed. Writing on Drawing: Essays on Drawing Practice and Research. Bristol: Intellect, pp. 109-124. ISBN 9781841502007