Notice what you notice.
“Honor thy error as a hidden intention.”
–Brian Eno, musician
I begin with something small – an unconscious doodle from a sketchbook – and work outward from there. I don’t plan my compositions in advance, and I remain open to extensive revisions throughout a painting’s progress. I paint in layers, and like to let the history of the painting show through. In this way the process mimics our own becoming, a major narrative of the work.
I work from memory, though not exclusively. Influences include cave painting, illuminated manuscripts, myths, fairy tales, Shel Silverstein, Carl Jung, singer-songwriters (Lucinda Williams) and the aching sound of the violin. I’m attracted to an Eastern sense of space, a “top to bottom” read, rather than a more Western “front to back” deep space. Artists I have been looking at lately include Masaccio, early Picasso, Jim Dine, Paula Rego and Squeak Carnwrath.