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“Art is a long word that can be stretched” Eduardo Paolozzi

The work displayed on this site is an extension of previous graphic interests utilizing traditional print means, drawing, photography and more recently digital formats. It is a relationship between imagery and formal invention. It also celebrates the act of “making” and hands-on production including an investigation into processes that lends themselves to extensive reworking and variation. Accordingly, the work is layered with many levels of subtle and ambiguous meaning that commemorates the ritualistic beauty and discipline associated with graphic production - a celebration of the process.

It also documents the changes, the ebb and flow of interests, risks and failures that seem to exhaust themselves after four or five years of research. This circumstance then requires a re-evaluation including a desire to seek change and eventual progress. This might have something to do with finding little security in the familiar.However, throughout the changes, a general unity of purpose and vision has been constant and that is the act of transformation and refinement with an eye on renewal.

One can think of making prints as a unique form of “stop action” where a particular image is examined in various states of development. Drawing, especially on a stone is refined and revised, either minutely or extensively and each alteration printed is a form of documentation of the creative process. The print matrix can literallystore time by holding the marks and reductions of past decisions. This provides the viewer with a step- by- step experience revealing a precise, yet improvisational approach to image making. The states evoke cyclical, linear time and act as a metaphor for the artistic process itself.

Additionally, one should be cognoscente of the fact that this body of work was developed at a time and place that was associated with the print explosion that occurred in the late sixties to near the end of the last century. It might be as some have suggested, the terminal point of an unfolding drama where one obsessive interest is replaced by another – a wandering between two worlds.

Many of the representational images, especially later ones reflect an on-going interest in pop culture and technology, referencing more specifically photography, illustration, comics and machines - juxtaposing handmade representation with mechanical reproduction. Frequently the starting point is a “raw” image, appropriated, recycled, second hand, or after the fact, all rooted in the world of concrete evidence - an act of trying to invent from benign information. Drawings, prints, collages and objects all spring from the same source. They contain the same wealth of associations and paradoxes and then lead back, like a Zen encounter, to the starting point. Exaggeration of scale and significance act as blind screens to be filled by the inquisitive viewer based on narrative and technique This strategy reflects for better or worse current attitudes of cross referencing and sampling influenced by a culture bombarded with a continuous flow of incongruent visual stimuli and media that feeds our pleasure centers physically and psychologically. In any case, I do not believe in a rigid doctrine of consistency or signature style once an artist reaches a certain level of accomplishment.The “War on Terror” images originate from the artist’s desire to utilize news and current events as subject matter. Using this theme, the work addresses, with a degree of detachment, the visual interest in military episodes and materiel that heighten one’s awareness of those elements. Can something that the viewer overlooked become mysteriously fraught with meaning? Alternatively, is it conceit and fantasy thinking one can actually improve on reality?
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