Influenced by both primitive and modern art, I am a Chicago based artist whose subjects include portraits, figures, landscapes, and symbolism/surrealism compositions. As a student of various world views, my art relies heavily on the universal language of symbolism. In my view, art is a collaboration that the viewer is as much a part of as the artist. To spell it out is to water down the artistry. While I am not at all opposed to retinal art designed to please the eye, my focus is mainly upon conceptual art that challenges us to consider different points of view.
The interaction between the dream world of mythology and real life fascinates me. To study mythology is to study yourself. In the irrational but sensible esoteric or holistic perspective, everything is one. Studying holistic anthropology, incorporating all worldviews into one’s personal worldview is the ultimate trip. Turning yourself inside-out, you discover that everything in the world is only parts of yourself. In a way, every piece of art is a self portrait.
My style is a combination of modern art styles such as Impressionism, Expressionism, Surrealism, Symbolism, and Cubism. Like the Processean ideology, I focus on a confrontation of differences — a reconciliation and unification. Art is letting go, a form of self-therapy in my view. Exploring the bad dreams, my inspiration comes from the suppressed parts of my mind, turning out painful repressed memories and emotions that weigh on my soul. One by one, my paintings change me.
If suppressed parts of a person’s mind manifest themselves every day, subconsciously directing one’s life, it seems that we are wired to manifest our deepest fears into reality. I think of my style as Regressionism, a style about facing the reality we create for ourselves — involving the flow of energy (or consciousness) which forms matter. While this kind of self-analysis drives many artists, I believe an art movement focused upon self-analysis itself would be particularly enlightening.
Using the 7 basic colors of the rainbow in a color-after-color technique, my art is characterized by an exaggeration of light, color, and distorted features. Figures are very much inspired by primitive art like the Moai statues of Easter Island. I got serious about painting in the autumn of 2014, reworking a number of old studies (some almost 10 years old) in my newly developed style. Generally, I use 1.5 inch deep gallery wrap canvases which do not need to be framed. I paint the sides, but only a rough once over, not in the same level of detail as the front. Paintings are not wired for hanging, but may not necessarily need to be.