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Statement
I have recently been thinking about the modern masters
who informed the art
studies of my youth. While I have always considered
myself a contemporary
artist, and so an inheritor of their legacy, some of
my deepest attachments from
those formative years have, in the past several years,
presented themselves in a
new and pressing way to be included in my work.
So not only Rothko--who has been ever-present all of
these years--but also
Louise Nevelson, Agnes Martin, Joseph Cornell, and Antoni
Tapies, among others,
with their grids, boxes, arrows, exes, color fields,
and found objects, have
either made their way or are about to into my recent
work. This, for a landscape painter, is no small thing.
One of the most important elements to finding one's
voice as a young artist
involves eliminating possibilities from the smorgasbord
that art history provides. The developing artist then
focuses on a set of interests, working them into an
original statement. To stay within those perameters
for years on end, however, is a sort of artistic napping.
It therefore strikes me that a reward of artistic maturity
is that one can increase the complexity, bringing more
and more into the work, keeping all the balls in the
air.
What delights me the most about this is the having-it-all
aspect to it. I can
still have my delicious, meditative painting process,
and also let my mind
romp through art history, without the result looking
disconnected. This is
achieved by letting new ideas (that often seem unrelated
to landscape painting in
any traditional way) perc for a period of time, both
subconsciously and with applied problem-solving, before
I settle on my approach.
I remember a quote about intelligence being defined
by the ability to understand the truth in two contradictory
ideas. This koan-type understanding of the world has
always been innate, and helps me mesh some of these
seemingly disparate ways of looking at art-making (including
elements that I've had to work harder to develop, such
as storytelling). This is a wonderful place to be: reaping
what has been sown.
EXHIBITIONS:
2008 THREE-PERSON SHOW - “CHANGING WINDS”-
Craven Gallery, Martha's Vineyard, MA
2008 TWO-PERSON SHOW - “AUTUMN ELEGANCE”-
Asher Neiman Gallery, Redbank, NJ
2007 "WATER", TWO-PERSON SHOW, - Chace-Randall
Gallery, Andes, NY
2007 TWO-PERSON SHOW - with Tom Christopher - Van Brunt
Gallery, Beacon,
SOLO SHOW - "A NEW SEASON"- Art Forms, Redbank,
NJ
THREE-PERSON SHOW - "WATER"- Chace-Randall
Gallery, Andes, NY
2006 TWO-PERSON SHOW - "HERE AND THERE" -
Carol Craven Gallery, Martha's Vineyard, MA
TWO-PERSON SHOW - Chace-Randall Gallery, Andes, NY
TWO-PERSON SHOW - Albert Shahinian Fine Art, Poughkeepsie,
NY
"NEW YORK AT NIGHT"- DFN Gallery, New York,
NY
2005 SOLO SHOW - Van Brunt Gallery, Beacon, NY
SOLO SHOW - Art Forms, Red Bank, NJ
TWO-PERSON SHOW - Chace-Randall Gallery, Andes, NY
"INTO THE FOREST"- DFN Gallery, New York,
NY
RETROSPECTIVE - "A DECADE OF DISCOVERY" -
Albert Shahinian Fine Arts
2004 SOLO SHOW - Craven Gallery, Martha's Vineyard,
MA
THREE-PERSON SHOW - Art Forms, Woodstock, NY
"SKIES & SCAPES" - DFN Gallery, New York,
New York
2003 THREE-PERSON SHOW -"The American Landscape"-
Art Forms, Red Bank, NJ
SOLO SHOW - "MANMADE" - Albert Shahinian Fine
Art, Poughkeepsie, New York
2002 "ART OF THE 20th CENTURY" at the Armory,
Craven Gallery, New York, NY
SOLO SHOW - "WORKING THE EDGE" - Albert Shahinian
Fine Art, Poughkeepsie, NY
SOLO SHOW - Craven Gallery, Martha's Vineyard, MA
2001 SOLO SHOW - "AHEAD OF THE STORM" - Upstate
Art, Phoenicia, NY
2000 SOLO SHOW - "EXPANDING THE VIEW" - Craven
Gallery, Martha's Vineyard, MA
SOLO SHOW - "IRISH IDYLLS" - Donskoj &
Co., Kingston, NY
1999 TWO-PERSON SHOW - Albert Shahinian Fine Art, Poughkeepsie,
NY
THREE-PERSON SHOW - Carrie Haddad Gallery, Hudson, NY
SOLO SHOW - "SIGHTS AND INSIGHTS" - Craven
Gallery, Martha's Vineyard, MA
1998 THREE-PERSON SHOW - Carrie Haddad Gallery, Hudson,
NY
1997 SOLO SHOW - "CHASING THE VIEW" - Woodstock
Artisits Association
1996 SOLO SHOW - "THE MAGIC HOUR" - James
Cox Gallery, Woodstock, NY
1993 SOLO SHOW - "IMAGES OF ENCOUNTER" -James
Cox Gallery, Woodstock, NY
1991 "SPRING FORWARD" - James Cox Gallery,
Woodstock, NY
1988 SOLO SHOW - Lawrence Gallery, New York, NY
1988 SOLO SHOW - Museum of the Hudson Highlands, Cornwall-on-Hudson,
N
1988 SOLO SHOW - Julie Heller Gallery, Provincetown,
M
1986 TWO-PERSON SHOW - Sixth Sense Gallery, New York,
NY
1986 THREE-PERSON SHOW - Jadite Galleries, New York,
NY
1979 SOLO SHOW - Club Financiero Genova, Madrid, Spain
SELECTED COLLECTIONS
Samuel Dorsky Museum of Art, New Paltz, NY
Astoria Savings Bank, Queens, NY
Sandra Eu, New York, NY
Keihin Hotels-Executive Group, Takanawa, Japan
JSO Art Associates, Westport, Conn.
American Airlines, New York, NY
Club Financiero Genova, Madrid, Spain
Howard & Ellen Greenberg, New York, NY
Waterford Crystal, New York, NY
Bessener Trust Co., New York, NY
Sony Pictures, New York, NY
Julio Mendoza-Sanchez, Madrid, Spain
Bessemer Trust Co., San Francisco, CA
Nikkei Nihon Keizai Shimbun America, New York, NY
Zoe Randall, Andes, NY
Kelsey Grammer, Malibu. CA
James Gleich & Cynthia Crossen, Garrison, NY
PUBLICATIONS/REVIEWS/MEDIA:
“PERFECT STRANGERS”- Sony Pictures - set
of the home of the Halley Barry characterARCHITECTURAL
DIGEST - September, 2007
"BROKEN FLOWERS" - directed by Jim Jarmusch
- two paintings used in scene with Jessica Lange
ART OF THE HUDSON VALLEY / 2004 & 2005 Calendars
- Hudson Park Press, New York, NY
THE CHRONOGRAM - COVER - 11/02 & review, 5/95
ANTIQUES AND THE ARTS WEEKLY-11/8/02 & 11/04
NEW ART INTERNATIONAL-2001 Edition- 7 page article
WOODSTOCK TIMES-5/91 & 6/94 & 11/96 & 3/98
& 5/00 & 7/00 & 4/01 & 5/01 &10/04
&11/04 &4/06
DAILY FREEMAN- KINGSTON, NY -5/91 & 5/95 & 3/98
& 5/01 & 11/02 & 12/04 &4/20/06
POUGHKEEPSIE JOURNAL -8/95 & 11/02 &11/04&3/05
"WEEKEND" TACONIC NEWS -9/95
THE PROVINCETOWN ADVOCATE -7/86
"AHORA EN NUEVA YORK", CH. 41 -interview -
8/86
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