HomeGallery 1Gallery 2Gallery 3StatementsBestPhotosObitMemorial ShowQuotesScholarship FundBloge-mail me

Artist's Statement from Core: New Art Space website, 2005...

Ever since I was a child, I have had a nagging question which always hunts me down when I want to make art: "What do I make today?" My current work which is based on random numbers being used to create art has helped me to get over that problem. I have a master list of images numbered 1 - 53 from which I work. When I need to create a composition, I merely get the Powerball numbers either on a Wednesday or Saturday. I then check this set of 6 numbers against my list. For example if "18" is in the set of numbers, it happens to be "water" on my list; "22" is "moon" and so on. I then incorporate these 6 images into a composition. I also do paintings and prints of the individual images and their corresponding numbers. On a practical level this system aids me in the creation of new and unexpected combinations of objects I may not have come up with consciously. On a more conceptual level, this system also represents my world view.


I believe life is a gamble and I have limited control over events initially. I am dealt a series of circumstances from simple to complex or even innocent to perverse. Its then up to me to deal with these circumstances and work through any issues that may arise. I have been influenced by many art movements and artists. My system was derived from the Dada movement which took place in the 1920s in Zurich and New York. Randomness and absurdity both played a major part of their creative processes. Marcel DuChamp was a key artist in this movement. An offshoot closely related to Dada was Surrealism which championed the then new ideas of Freudian thought such as the subconscious mind and interpreting dreams. Key Surrealist figures were: Dali, Magritte, and Bellmer. Aside from Dada and Surrealism, 1960s Pop art has been another main influence on my art. American and German Pop artists such as Rauschenberg, Johns, Lichtenstein, Ramos, Warhol, Richter and Polke used advertising and popular culture as the subject of their works. Many of these works are seductive images which often have very dark content brewing under the surface when one inspects them closer.





Artist's Statement from BOOM: Art Show in a Truck project, October 2006...


... My most recent work has been a continuation of this lottery system with
additional process oriented layering. I have been calling this new approach
Hyper-Slick Lottery Painting. I was always criticized by other art students
and instructors when I was in college for being "too slick." I admit, I had
made lots of really bad art but I eventually began to develop good drawing
and painting techniques. My favorite painting tool also became the airbrush
at this time. I considered it to be the best way for me to handle acrylic
paint which is less toxic than traditional oil paint and dries much faster.
To me the airbrush is just another tool. To academicians it is reviled for
being associated with commercial art and crafts/hobbyist art that is too
trite or "slick" to be considered "real art."

As a mature artist, with a considerable lifetime of experiences behind me, I
have come to the conclusion that there is no "real art." There are
definitely different intentions behind making imagery; however, "real art"
is yet another artificial absolute definition given to a highly subjective
opinion. Defining such arbitrary absolutes in such an elitist way also
serves to further isolate art as a separate human activity from the rest of
the world and therefore making art less understood or even tolerated by
others. My intention as an artist is to interest people in my art who may
have no background in art at all, in order to remove the artificial wall
separating art from daily life.

Since my work has been considered too slick to be "real art" I have decided
to adopt the name Hyper-Slick to positively define my work by using the
negative for which I have been flippantly labeled over the years.
Hyper-Slick also refers not only to the slick (commercial looking) imagery
but also to the slick (surface sheen) of the gel medium layering techniques
I now use. My slick imagery is now embedded in slick layers of clear media
thus giving my work literal and metaphorically layers of meaning."








|Home| |Gallery 1| |Gallery 2| |Gallery 3| |Statements| |Best| |Photos| |Obit| |Memorial Show| |Quotes| |Scholarship Fund| |Blog|