The Echo Series
The work in this series is composed of two subjects; first, the human figure, and second, the mirror surface. The space of each painting is occupied by more than one view of the figure and multiple mirrors intersecting, framing, or otherwise interacting with the human figure to create visual echoes throughout the image. The mirrors operate similarly to actual mirrors, in that they reflect visual information, however, they are distinct in that they have no surface of their own, do not always maintain the common rectangular or regular shape of a mirror, they have only 2-dimnsional presence, and are not direct parallels to the information they reflect, either in the 2d surface language of painting, or in the suggested inner-space of the image. Rather, the mirrors simplify visual information as they reflect it; for instance, the visual representation of a head rendered realistically, when reflected may become more and more like a silhouette. Or a silhouette reflected may become more and more like an oval or a circle. Colors, while complex and intermingling, may become simplified gradients. Simple color structures may become even simpler as flat singular colors within silhouettes or shapes. All of the visual information in one painting arises from some interaction between at least one figure and at least one (though usually multiple) mirrors. The mirrors simultaneously direct attention through the body and through the composition of the painting itself, and act as pivot points or portals between differing perspectives.
The mirrors take over the role of the environment. As a figure is echoed between these mirrors, it becomes more and more abstracted, gradually being replaced by colors, gradients, and shapes. In this way the body transforms through the mirror into its own pictorial habitat. Each figure lives in their own color space. Multiple viewpoints of these figures are interwoven, suggesting an element of time and motion, while creating a sense of interpretive ambiguity in the work. This is particularly important given the use of hard edge abstraction. The potential danger of working with sharp edges, simple/minimal abstraction, and clear representation is that the image runs the risk of becoming too direct, visually didactic, as though there is not enough room for the viewer to breath. By overlapping representations, and creating pivots between ideas of forms, I can ensure that the idea of the form is still “open”, still suggestive, allowing the viewer to fill in the gaps and remain imaginatively engaged, while still achieving a “cleaner” aesthetic, a feeling that is important to me in conveying the emotions associated with peace and clarity. Balancing this aesthetic against interpretive ambiguity and dynamic, asymmetric, composition allows for the expression of calm clarity amidst a chaotic world. There is a sense in my paintings that there is an underlying order, a meaning, but the meaning itself is not ever fully perceived. There are no assurances. This is an echo of the common urge to find meaning in life even though the meaning continually eludes us.
My work reflects and builds upon the influence of cubism, classical painting, hard-edge abstraction, Japanese ukiyo-e prints, minimalism, and contemporary figurative work involving the fracturing, doubling, or dissolving of the figure or portrait.