Portfolios > Memory Series 2010-2017

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"
Vague Moments of Clarity
Acrylic on Panel
48" x 48"
Plush Toys, Ice Cube Trays, Mannequins, and Veils
Acrylic, Graphite, Spray Paint on Canvas
36" x 36"
To the Brink
Acrylic, Graphite, Marker, and Spray Paint on Paper Collaged on Panel
41.5" x 76.75'
He Peaks in From the Corner. Everything's Fantastic!
Acrylic and Marker on Panel
65" x 96"
Acrylic and Graphite on Panel
96" x 210"
Past Meets Present
Acrylic on Birch Panel
46.25" x 31.5"
Acrylic on Birch Panel
Intermittent Lucidity
Acrylic on Birch Panel
Acrylic and Paint Pen on Birch Panel
48" X 48"
Acrylic on Birch Panel
48" X 48"
Don Quixote's Folly
Acrylic, Spray Paint, Paint Pen, Silk Screen on Panel
79" x 84"
The Whole is Greater Than
(photo by Alan Skees)
Acrylic and Silk Screen on Panel
96" x 293"
Gaining Momentum (Corner Installation)
Photo by Alan Skees
Acrylic, Spray Paint, Paint Pen on Panel
96" x 192"
Acrylic on Paper Mounted on Panel
42" x 73.5"

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