Artist Statement
          I have always been drawn towards the process side of  creativity. For me, art is
    an endeavor of choices, permutations and associations that render the conceptual
    and visual complete. I employ a process of creating fields utilizing collaged
    elements of  multicolored, patterned papers, pages from art journals and
    dictionaries that, along with drawn and painted images, are intended to invoke a
    narrative.
    T aThe process begins by utilizing a matrix, or grid as the framework upon which I
    paint and begin application. It is a logical step as it represents to me a form of
    strategy and approach. Much like every story has a beginning, middle and end, or a
    “ Once upon a time…”, and “……they lived happily ever after.“ During the course of
    the work, as I come to grips with what is unfolding, I let the patterns deviate and
    roam with my brushwork becoming more improvisational and expressionistic.
    These strokes serve as the threads that will bind patchwork into the whole. This
    combination of structure and whimsy represents to me pertinent elements of
    storytelling or “ spinning yarns “. Where a story exists in words that are spoken,
    heard, read or seen, there is always the possibility of ambiguity depending on the
    audiences’ viewpoints, experiences, and perceptions. Also, as a story is handed
    down, it is prone to change due to memory or embellishment. My imagery, which is
    rendered simply as line drawings that reference the printed image or composed of
    collaged elements, serve the dual purpose of being both literary characters and
    demonstrative devices much like those found in elementary spelling and reading
    primers.
    ppliThese quilts or storytelling devices composed of images, patterned papers and
    paint are arranged into structures of squares and circles, both solid and seemingly
    afloat to give the viewer an exploded view. This technical or anatomical
    representation allows the contents to be studied individually or as a whole. One can
    dissect and become familiar with the parts, which are commonly held together by
    brushwork of yellowed tones and tints of paint. This choice in color is not meant to
    simply appear as “ vintage “, but rather as threadwork infused and bestowed with a
    history, invocations of nostalgia and reminiscing, that has been carried down and
    passed on. Each element stands out with focus, says it’s part, only then to
    disappear back into place.
    eginning, middle and end, or a “ Once upon a time…”, and “……they lived happily ever after.“ During the course of the work, as I come
    to grips with what is unfolding, I let the patterns deviate and roam with my brushwork becoming more improvisational. These strokes
    serve as the threads that will bind patchwork into the whole. This combination of structure and whimsy represents to me pertinent
    elements of storytelling or “ spinning yarns “. Where a story exists in words that are spoken, heard, read or seen, there is always the
    possibility of ambiguity depending on the audiences’ viewpoints, experiences, and perceptions. Also, as a story is handed down, it is
    prone to change due to memory or embellishment. My imagery, which is rendered simply as line drawings that reference the printed
    image or composed of collaged elements, serve the dual purpose of being both literary characters and demonstrative devices much
    like those found in elementary spelling and reading primers.
    lication. It is a logical step as it represents to me a form of strategy and approach. Much like every story has a beginning, middle and
    end, or a “ Once upon a time…”, and “……they lived happily ever after.“ During the course of the work, as I come to grips with what is
    unfolding, I let the patterns deviate and roam with my brushwork becoming more improvisational. These strokes serve as the threads that
    will bind patchwork into the whole. This combination of structure and whimsy represents to me pertinent elements of storytelling or “
    spinning yarns “. Where a story exists in words that are spoken, heard, read or seen, there is always the possibility of ambiguity
    depending on the audiences’ viewpoints, experiences, and perceptions. Also, as a story is handed down, it is prone to change due to
    memory or embellishment. My imagery, which is rendered simply as line drawings that reference the printed image or composed of
    collaged elements, serve the dual purpose of being both literary characters and demonstrative devices much like those found in
    elementary spelling and reading primers.