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Recent Works
Ochre on Stretched Canvas and Wood
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Ochre and Acrylic 2010
Natural Earth Pigments (Ochre) and Acrylic paint on Polypropylene (Yupo).
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Black Museum Board
Dirt & Water 2010 - 2011.
Natural Earth Pigments (Ochre) on solid black Museum Board.
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St. Paul Boxes 2009
Natural Earth Pigments on Found Paper. The 'found' paper are Teacher Grade Books from the small Indiana town my father's family came from. Boxes of these ledgers survived the town's historian and family friend Bob Mitchell. I chose from those designated to be thrown out. They date from the 1920s (except the one Road Taxes from 1864). Unlike the 'Mousseau Books' I don't see a relationship between their original production and my mark making. Like the 'Mousseau Books' the titles come from words found on the pages.
Record of Visitors 2009.
Report 2009.
Actual Days 2009.
Road Tax 2009.
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The Mousseau Books 2008 - 2009
Natural Earth Pigments on Found Paper.
The 'found' paper are five High School excercise books of Emily J. Mousseau dating from 1884 to 1886; purchased at a fea market in Charleston, S. Caorlina in 2004. This collaboration is the result of a process come full cirlce; her marks an imposed discipline of repetition; mine a voluntary meditation on a single shape.
References Black 7"H x 8.5"W 2008 For Kim Gamble.
References Red 7"H x 8.5"W 2008 For Mike Baur.
Position 7"H x 8.5"W 2008.
Definitions 2008 For Eleanor Himmelfarb.
Geographical Drawings 2009 For Bob Mueller.
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Ochre Mounds 2009
The Trip to the Kimberley continues; Termite Architecture and all. Black Oxides courtesy Kim Gamble; Red Ochre from Unnamed Place.
-a series of mounds- for Francis
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Kimberley Ochre
Pounds of Ochre from a trip to the Kimberley, Australia in 2007. From white to yellow, orange, red, brown to black, all are ferrous oxides but with different impurities and rumors of the Rainbow Serpent. This is painting with dirt and water. My thanks to the aboriginal artists whose direct approach stretched my horizon.
These paintings are dedicated to our guide Dillon Andrews, Elder of the Biridu, who made a long journey a personal encounter with 'country'.
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Clay Monoprints
The Clay Monoprint was developed by Mitch Lyons. The process uses porcelain slurry mixed with pigment and spread on a clay slab. Paper or Pellon is laid on top and pressure is applied using a roller. The process is childishly simple and spectacular in possibility. What you see (on the slab) is never what is revealed. The intrigue is addictive. Mitch should be applauded. And then arrested.
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Bookabie Turn
3/2005 - present
A series of work started after a trip to the Great Australian Bight. The media: BFK Rives paper 22” x 30”; coffee; blue gouache.
These materials are put together outdoors, sometimes with paper towels or sheets of plastic. Gravity, surface tension and evaporation are allowed to run their course(s). About half the attempts are lost at sea. The process is more beach combing than painting. A vacation from grinding out your own mark on a piece of paper. This work shares the same aesthetic as Raku firings with it’s rubble of failures next to the kiln. Serendipity plays its irreplaceable role. The images look something like the mapping of the coast that inspired them, aerial views, estuary, bays, desert, ocean - but this is an accident and an unexpected souvenir. The larger idea was not paintings of the coast but by the coast, the same forces encountered there of light and wind and water rising and receding.
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Collaborative Works
Monoprints
Artist Statement: Arriving somewhere you can’t get to alone. Musicians do it all the time.
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High Lake Sculpture Garden
Outdoor Collection
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