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All imagery found in art as well as all human creation is derived from the natural, visible world.


The line of descent to which my paintings are inextricably linked is as ancient as man's ability to stand erect. The use of geometry is found in the earliest examples of artisanship that has survived the centuries. Geometric forms and patterning has flourished at some point in virtually every known civilization to a lesser or greater degree. These elements have been used on vessels and costume, on furniture and architecture. Significance for the cultures in which it is found varies from culturally homogeneous decoration to symbolic religious systems with the intent of reaching the spiritual world. In modern times, it has been used for similar ends and for art that is nonrepresentational - in purely formal compositions.

Old Mos

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The Greeks in the seventh century B.C. used linear geometric patterns on vessels. The ancient art of Persia used a system of symbols to express religious beliefs and to describe the natural order of the universe. The Op artists of the 1960's used geometric formats to create optical illusion.

I was apparently predisposed to paint with geometric formats. From my earliest training, I found ways to practice my natural inclination regardless of the structure of the art programs I was in. Figure drawing became an opportunity to see how shadows fall in a predictable pattern. Still life painting became a challenge to make the static active, by means of cast shadows and patterns on objects. Landscape painting gave me the opportunity to examine the patterns that occur in nature. Left to my own devices, I explored optical sensations in monochromatic patterns and later in more complex color arrangements. By the time I completed undergraduate training, I could create space in my paintings and use color to that end. It took a few more years for me to realize that what was lacking in my painting was the materialization of the human spirit. Coming to Pratt was an opportunity to embark on intensive study for the realization of my goal: to find myself.

All imagery found in art as well as all human creation is derived from the natural, visible world. In art, it is not always used to recreate the world as in realist painting and sculpture. It is digested and worked into other forms at the discretion of the artist, designer or technician. Piet Mondrian, for example, used geometric forms to depict the essence of the natural world - the horizontal and the vertical. He saw these essences as guides to a future, utopian world.

I see my role as a painter not as a guide but an observer; less of a participator who seeks to influence change than one who takes in and presents what I see. I seek connections between what is natural and what is man-made. My use of geometry is the humanization of the natural world. Mondrian's use of geometry is the humanization of the natural world. Mondrian chose the essential elements; I choose to explore the complexity of the same world.
 
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