Artist Statements

  • Seijaku

  • The Other Color

                                                                                        

                                                    Seijaku Series

 It's around us. In us.

 Everywhere.

 A deluge of sound, language, movement.

    Chaos, endless and overwhelming.

 And yet, in that flood,

 we reach towards stillness

           as if by instinct.

           We move toward silence and light.

                     Towards order, simplicity and balance.

 In the silence, calm lives.

 A reflection of our perfect need.

             In serenity, we reclaim ourselves.

 Seijaku, tranquility in the midst of daily turmoil.  It isn’t an escape from the world that   

 surrounds us. Rather, it is the seeking of serenity in the midst of activity; the finding of true  inner quiet as the world churns around us.

 

 I’ve always been fascinated by the dichotomy between order and chaos—  especially in  today’s constant barrage of media and technology. The use of distorted and random 

 binary code in this series are symbols of the tumult from which we move toward  peace,

 order and simplicity.

 

 In Seijaku I suggest the path to serenity can start with a  break from the routines of an active  life. A move toward order and balance. A way to stillness.

                                             

                                                   The Other Colors Series

 My paintings draw from the powerful Asian aesthetic that lives in me, a

 striving  for serenity in a

 world inundated by input; conscious acts of eliminating the  unnecessary so

 the necessary may  speak.

 It's said that my work seems to glow with inner light.  That isn't accidental:

 Each  piece grows from as many as 30 layers of transparent oil glazes that

 give the surface a muted luminosity and  depth.  In the deceptively limited  palette--in the  freeing choices of monochrome--we cast off the  excuses of

 color and resist the  urge to wrestle vibrancy onto the canvas.  In doing so, we

 discover a muted  thing that lives deeper in the soul.

 This principle of Shunyata; of dwelling in emptiness.  To me, this quiet,  immersive energy  creates an anti-angst; a seductive, visceral breath.  Within  those still waters, shapes, circles  and gestural  graphite lines create a harmony  of opposites that delivers us into an image  without a beginning or end.

 In the end view, this benevolent softness becomes a relinquishing of control by  painter and

 viewer alike; one that lets us interact with the work in any way we  want, with no strings  attached.  From the immersion in light and the depth  beyond the strict boundaries of

 canvas, comes a particular state of grace: a t  transcendency that renews itself endlessly in  the eye, and challenges our ideas  of what a painting can be.  

                                                           

                                                         

 

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