Size: 28"W x 30"H x 2"D
Year Created: 2018
This piece represents the very germination of the ideas that eventually came together to form the foundations of the Field Series and actually has quite the long evolution. Prior to its completion, it remained in limbo as a primarily monochromatic work that I considered to be lacking when it came to any real visual strength or resolution. It was started in the very early years of the “Vibration” series and was meant to add to the advancement of the ideas and images that were developing there. I still felt that there was something about the work though that demanded it travel with me (from South Carolina to Boston) and eventually become something more. As it would turn out, it has become one of the pieces that plays an integral role in the development of the “Field” series. This series of paintings is the one that I have grown into through the 15 or so years of developing the more abstract, Vibration images.
The composition was always meant to revolve around an “intrusive,” three-dimensional form that slowly broke down as you move towards the background and the two-dimensional elements of the work. While not completely square in its measurements, the shrinking dimensions of the stretcher by a matter of only a couple of combined inches on the right side contributes to the allusions of a landscape in dramatic flux. The booming, 3-D presence based on the organic form never disappeared through both incarnations of the painting. However, it did become much more reliant on color intensity in order to fully emphasize the visual dynamics that were in play. I face this kind of commitment in the majority of my pieces due to the fact that I choose to put the sculptural elements on first and let the idea evolve based on this grounding. In all, I guess I have been living with the piece and it has been “active” since 2009.
I would be hesitant in saying that the Field series has a Theme necessarily; although, there is a guiding idea that dictates my approach and the content. In order to fully explain the concept, I will have to briefly go into the Vibration series and address the evolution from this starting point.
The basic idea behind the Vibration series is expressed through the juxtaposition of actual space (the sculptural additions) and the illusion of space (all other two-dimensional elements of the composition). Scientific and metaphysical theory indicates that solid forms and three-dimensional reality as we perceive it is actually an illusion, or a construction of our own minds. The corporeal world is actually the combined interaction of vibrating strings and molecular elements that, together, allow for the perceivable world, or form its underpinnings. The paintings are a metaphor, further extension, or representation of these concepts (They are actually all three!). There is more to it than this (on emotional content, etc.), but this is a quick explanation. The Vibration series focuses on this inspiration from a micro (cosmic) scale. The sculptural elements are always more organic, allowing them to parallel the movement, energy, and activity of the smallest elements of existence (molecules, strings, what have you). The lines and colors forming around them based on their visual existence represent the environment made possible by their presence.
The Field series has come out of this evolution of ideas as I began to feel the need to address things on the 'macro' level as opposed to micro-inspired imagery. The sculptural additions still represent the baser elements. However, the environment blooming out of these elements is much more referential, far less abstracted. The name, “Field,” is meant to reference the quantum and ethereal field out of which reality is an extension. In the series, the linear work extending from the forms encapsulates or makes possible the areas that are the most realistic or recognizable i.e. landscapes. The remaining areas of the composition are left to breakdown into purer and more elemental forms (the underpinnings of reality).
This piece, for me, represents an industrial landscape. The intensity of the color in the main form dictated the intensity and potential of the atmospheric background. Ironically, the waste from industrial compounds does actually become a part of and affect the colors in the sky and our visual horizons. I am not saying that this is a good thing, however, I believe that you could be justified in saying that the Theme of this piece would be “industrialization.” This is the most abstract of the pieces so far in the Field series, but I also feel that is an important one in that it reaffirms the conceptual elements and keeps color as a vital element in the imagery as it continues to evolve.
Thank you for visiting my portfolio. My formal training in the arts includes earning a Master's in Art Education from Lander University and a BFA in Studio Art along with a minor in Philosophy from the College of Charleston in South Carolina. I regularly exhibits paintings and prints throughout the New England and Southeastern regions in addition to composing and publishing original musical compositions. My passions also include writing and poetry as well. My initial collection of poems, Nouveau Memento Mori, was self-published. The second volume, Tithing All the Candor, was released by Wintergoose Publishing. Recent publications that have featured my writing and paintings include Penny Ante Feud, Nefarious Ballerina, Black Heart Magazine, and Fine Lines Publications. I am formally an Adjunct Professor of Art History at Piedmont Technical College. Now residing in Boston, MA, I am producing artwork, pursuing independent writing, and teaching at Medford High School.