To summarize what the vast majority of these
abstraction-based works were about comes down to my basic interest in
formulating a constructive visual logic in my approach to painting. I
undertook these projects in an attempt to distill certain essential
signifiers or elements into a compositional formula that I could apply ad
infinitum.
I imagined that I could locate some essentialized expression in my
undertaking, an expression that could touch on the sublime. Ultimately,
these works could not address the fundamental relational and spiritual
concerns of my heart. Only the metaphoric, symbolic use of the human form
could do that.
It wasn't all in vain, however. In each grouping of works I gained greater
understanding of materials, techniques, and the application of formal
visual language. I began to understand the sort of compositional framework
within which I wanted to work. I gathered information about developing
lines of force, how to direct the eye, create movement, points of focus,
and a number of other useful concepts. But beyond all these things, I've
also learned not to disdain the commitments of the past; I know that I
believed in these works when I was making them. I don't reject them
because they helped to get me where I am today. I believe in having a
truly open face regarding my own and others' works.
