“Every Day” images ie. the images we see day in and day out whether we notice them or not, are the focus of my work as an artist, entrepreneur and art educator. What are the pictures that we see every day?  Where do we see them?  Who is generating them? How do they build up into a whole? And what control do we have over them and they over us?  This is what interests me.

As an educator, I focus on the overwhelming abundance of digital imagery we face on external screens.  As an art consultant I look at the artwork we see and purchase every day for ourselves and places of work.  These concerns in addition to the internal imagery: the pictures that we generate in our minds and collect in our homes are the database from which my art practice springs. 

The core visual form of my artwork is the grid.  The grid allows for an accumulation of both images and marks, like days and choices over time.  Its stable structure provides both security and a freedom to play across its predictable surface without threatening the whole.  The inherent multiplicity guarantees a work of scale and reveals the uniqueness of each part be it mark or image.

Originally, a painter, I am now incorporating various print mediums into my practice.  The use of prints allows me to address the bombardment of large quantities of images that I and I believe we all experience daily.  At the same time, by employing easily accessible linocut techniques and materials, I can quickly generate images at the same kitchen table that I am exposed to multitudes of pictures from outside.  The shifting focus from inner and outer points of view is reflected in the materials via the combination of acrylic coated, boxed and framed components with the attempts to breach those enclosures with the more humane hand painted marks.

My early influences were Jasper Johns who employed the structure of flags and maps to play across; Chuck Close who used the grid to play with both the parts and whole and Franz Kline and Robert Motherwell who largely confined their palettes to black and white and thus revealed to me the richness in simple movements.

Currently, I am producing a series of Lino-cut monoprints titled:  Kitchen Basics.  The iconography consists of functional elements/objects that I find helpful to everyday life.  The rendering of the imagery is basic, almost childlike.  The simplicity of the form allows for easy access and integration of the dynamic the pictures are addressing.  The everyday life that is requiring assistance here is the emotional and intellectual life more than physical reality.  My prints are intended to be form of a First Aid for complex situations more than a dissection of them.