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No simple explanation for what I do as an artist exists.
In fact, any explanation would involve codifying a state
of mind, a way of life, a means to see, a principle of
understanding, a consciousness of totality.
The dividing line between how my mind works and how you
read these words is an unacceptable concept. Just as no
dividing line should be drawn between what you see in my
work and, generally, what you know.
Obsession with the idea that I am out to create new
forms of art would distract me from my concerns. I am
concerned with the gentle, yet powerful, notion that the
"pictures" I make are those that measure (for lack of a
better word) my comprehensive view of the world, infinite
and not. Questions of innovation are those proposed by
materialists, rather than the aestheticians or
philosophers.
If it is comprehensible that all the art I make is new,
what is being understood is that my inner self drives my
experience to document how I feel, not in the sense of
sensations, but in the sense that I am filtering
my experience through imagery. The imagery is completely
without precedence. Surely, the influences on my work
manifest themselves through the interaction of a spirit
collectively emanating from art history and the thing-ness
of the art produced,
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especially given the medium.
The newness of the images, the purity of their form
and the distinct order created within them has never been
stated before. Their richness evokes the beauty of my soul.
I can analyze the reasons behind what I do...my intentions...
but why do I have to? Any analysis becomes a question of
how to comfort the audience by alerting it to what can be
perceived in my work without my help. My work tells the tale
that is as much about the viewer as it is about myself.
My work invites the viewer to come in and be exposed to
its energy and to discover all aspects of what is seen,
to be placed in another dimension, which is neither flat
nor three-dimensional, to be without history, to disappear
in body, to focus the mind, to rest the soul, to transcend
the "it-ness" of the work's materiality and bond with the
eternal, which, I, as the artist, can only indicate.
Moments are fleeting. We know we have been through them
because we somehow make memories of them. Yet, it is for
this reason that I imagine my memories so that you can
look at those imaginations in proximity to an immutable,
timeless, indescribable holiness that takes me through
this life.
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