DRAWING I adore drawing. I want to see the markings of the artist’s hand—the process of spontaneity and the economy where subtlety, pitch, line, or blocking can with the slightest of movement completely alter the work. I aspire to convey a kind of energy that this intensity will transmit to the viewer. Artists that are admired for their highly polished technical pictures keep me at a distance with their extreme proficiency and self-importance, because the hand—essentially the soul—appears to have been lost. This is the opposite of what I want to do. DARK AND LIGHT/BOLD AND SUBTLE I work in black and white. Dark and light allow me to be consumed with shape, the placement of the positive and—just as important—the complete awareness of the negative. GESTURE AND STRUCTURE The dialogue between gesture and structure is about tangibly conveying and transmitting energy to the viewer. The kick for me is that with the slightest movement I can completely alter a work—the mood, the dance, and the pleasure. FINE ART AND COMMERCAL ART I work on many photo shoots doing art direction and styling. This has helped develop my eye to form compositions both quickly and creatively in a decisive manner. This I apply to my artwork—there are no preliminary sketches. The work is conceived and composed directly on the wood panel. ▲
OCTOBER 2007
THE
MAGAZINE
| 17