Studies on the cycles of light
light I behold is without place; yet it is infinitely more
dazzling than a mist through which the sun breaks. This light
annihilates for me all height and length and breadth; for
me, this light is called the shadow of the living light. "
This new series of paintings explores the complexity of light
and space. The varied qualities of light are complex and layered
and are like visual echoes, vibrating particles carrying energy
like a wave moving from place to place-exploring atmospheres,
reflections, mirrors, screens and veils. The light and atmosphere
is both descriptive and suggestive as it plays and shifts
across the surface and deep within translucent layers of paint.
The light sweeps across the surface, it also sits calmly and
glows beneath and behind and through voids.
These shifts and changes of state suggest a place or interval
between our physical and spiritual realities, manifesting
interplay between our inner conditions and the physical world.
This is to me a spiritual-material interval, which is reminiscent
of, interconnections in the natural-physical world, which
reflect natures constant transformations like an echo
from one condition to another, both visible and invisible.
It is in this "in-between" space that we can begin
to explore the tranquility and drama of nature and its changeless
moods, shifting of night to day, the changes of seasons, movement
and stillness, land and sky, water and land, water and sky.
In painting, as in all forms of communication, often the greatest
meaning occurs in the interval between what is invented
and what is invited, what comes from memory and
what is observed.
The material character of the paint is intended as subject
matter and content in and of itself. The translucency of water
is expressed through many layers of opaque and translucent
paint, creating tension between the plastic physicality of
the paint and its evoking of a sense of water and light. The
undercurrent of line throughout many of the paintings suggests
the horizon, creating tension and movement acting to both
separate and unite. The colors and textures chosen often reflect
weather patterns: a dramatic storm or a calm breeze on the
horizon. Whether a lull before the storm or the storm itself
is suggested, both light and color play a formal role in the
paintings. Opposing or differing associations are explored
through the juxtaposition of light and dark, water
and sky, motion and stillness, liquid and frozen, the translucent
and the hidden, warm and cool, calm and tumultuous. The content
of these paintings is not overt; it is neither landscape nor
representative of a specific place, but rather a complex layering
of the physical, spiritual, material, emotional and the intellectual.
The outer physical world and its varied characteristics and
their complex inter-connectedness are questioned with an inner
eye. They are both literal and suggestive, exploring the illusive
and the real, dream and memory. I believe in all things of
beauty, the concrete and ambiguous occur simultaneously in
time and space. This equipoise creates struggle and tension.
This struggle is my search, a positive force, requiring me
to submit to the intuitive, be detached, and allow inspiration
to connect with knowledge and experience.
1.St. Hildegard from The Architecture of Truth by Lucien Herve