Since 1994 my studio on the east bank of the Hudson River provides a view of the river in all seasons. I work directly on it’s banks where my visual ideas are guided by direct observation. The evanescence of light on bodies of water entrances me with compelling associations between color and movement. A glimpse of fleeting hues will spark a complete proposition for a painting. Intimacy and close physical contact with my surroundings reveals subtly shifting phenomena, both natural and man-made. I am motivated by properties that attend to things rather than by the things themselves: properties such as color, luminosity, and reflectivity. Optical sensations such as afterimage also enter the picture. The physical properties of water, atmosphere and environment are reliably engaging sources. I work with these components in an empirically responsive and experimental way. Both water and oil paint share properties of viscosity. Exploring paint as a mimetic medium, I use its physicality to perform in ways similar to my subject.
Often times while painting I stumble upon ephemeral relationships that I want to develop through sequential, time-based media. Working in video, as well as with paint, allows me to bring together concepts and crafts from both media. One motivation that informs my practice of both is a desire to chronicle and reconstruct subjective temporal experience, such as perception and the duration of indefinite and unfolding environmental events.
Recently I’ve noticed an inverse relationship between my paintings and video work. While my paintings of the river collapse hours of observation into ostensibly still surfaces, my video pieces are typically composed from still images of that same subject which, by nature, is in constant motion. Subverting expected characteristics of each medium creates unexpected paradoxical disjunctions that continue to fascinate me.