(in)significant Painting

Statement My intent is to create contemplative art. Examining process and perception is a major part of my practice. While striving for a strong visual aesthetic — focusing on structure, rhythm and nuance — I investigate concepts such as ambiguity, identity and duality. Use of graphics tools enhances and expedites my creative process. For instance, I often photograph works in progress, altering them in Photoshop to aid in decision-making. Architecture also plays a major role in my art. Space, structure and perspective are all key considerations during the development of my abstract work. Background Although I’ve lived in Connecticut for over 20 years I grew up in Philadelphia. My father was an architect, and his father an artist, whose portraits and other paintings filled our home. Entering Boston University as a piano performance major, I graduated in 1985 with a BA in art history and urban studies. I discovered graphic design through an elective course at BU. By taking the course multiple times I was able to build a portfolio, and secured my first post-college job at The Philadelphia Museum of Art. I was a graphic designer for over 20 years. Part of my expertise was color accuracy, especially when reproducing Museum art. This sensitivity to nuance is an important part of my art. When I first started to paint in the 90s my focus was portraiture. My aim was to connect, interpret and reveal. In order to control the narrative I stylized my portraits. areas were flattened and simplified; color was controlled and limited. Single works gave way to thematic series. In 2015 I turned to abstraction, continuing to apply many of the concepts, strategies and techniques I had developed in portraiture. Abstraction provides freedom from constraints of visual reference and depiction. In this realm I am able to more directly implement graphic applications. My work has been in several exhibitions and is in numerous private collections.