Doremiarts

My artistic output is nearly always abstract and geometric, though highly fanciful elements usually intrude, even to the point of breaking up the surface order and representing the kinds of organic forms that might be seen under a microscope—as long as those forms agreed to line up in symmetrical patterns. In college, I took several courses in Italian Renaissance art, which, while exhibiting human and animal forms, also featured a quantity of abstract ornamentation and mathematically correct design. I observed how the Baroque took the Euclidean geometries of the classical period and appeared to “liquify” them. The Baroque is a high-energy form because it seems to depict change in motion, or change itself. And yet also I was struck by the idea that artistic forms can grow, become ripe, and eventually fade—just as people do. In the Baroque I saw that inflection point where ripeness has reached its peak and is starting to dissolve. If my work could be said to “represent” anything, it is precisely that inflection point itself.