Works in 2005 - 2006 make reference(s) to:
• Historical events in our Universe, World, America and personal

   
  This series of small-scale book drawings began in 2005 and continues as a work in progress into 2006.
Most works are 5" x 7" or 16” x 28”.
Each 'book' contains multiple visible layers using glassine paper
and is bound with thread to create a book format.
The concentration to gestural lines define relationships within its given space(s). The subject or markings have a quantum effect on multiple levels. Layers of glassine paper create a foreground,
middle ground and background. Once a page is metaphorically
turned within a given work, visual relationships change
and the viewer is confronted with a new
but related version within the same space.

 

These drawings and their relationships address the relativity of:
scale - gigantic / big / medium / small / very small
depth - far away / close up behind / front / middle / back / very back
height - above / below over / under
landscape - side / other side

These implied lines personify intangible subjects such as the human condition or psyche. The imagery may remind the viewer of a real live thing or event that takes place in everyday life. They have feelings, make decisions and their relative presence is made in the world - therefore they are real.

    For example, "Drawing #18 (below) has four possible outcomes.

a.k.a - Painting with Dick and Jane

This series focus is on historical events in American society and personal expectations during the painting process.

Some of the first English words to be read by young Americans predominantly in the 1950’s and 1960’s were the Read with Dick and Jane collection. This American “hallmark” was first written in 1932. It was a post WWI collection that most likely affected our generation’s moral and psychological thinking such as:
• Construction of words by placing letters together
• Repetition of key words
• Differentiating between right and wrong - actions that might influence and mold us into our current moral selves by way of conditioning via   literature and the new media of  the time, television
• First memories of color relating to words
• Becoming aware of our own personal epic in process no matter how small the event

The painting process in this series uses vehicles (chariots) that carry personal human behavioral baggage. Human figures are not present so that a universal yet psychological connection can be made. Line gestures are the build-up of brain muck during the course of the thinking process. What we keep and what we throw away in terms of memories. What I keep and what I throw away in terms of paint is similar.

My continued attempt to bridge our current republic (America) with the first republic (Greece) and second (Rome) is by asking myself the age-old questions of: who we are, where do we come from and where are we going. These three questions have defined the concentration of my work for the past 20 years. My ultimate challenge is to determine the American Epic through the painting process. My work often reverts to an ancient reference point that continues today in our contemporary western society.