MOVING OUTWARDS INCREMENTALLY
solo show
Under the influence of Moby Dick (Herman Melville), the ongoing ripples of 10 days alone in Iceland and working trips to the North Coast of Mayo this show represents three years of work. These paintings and objects represent a point along the path in the search for resolution of lifelong questions regarding the structure of the natural world. The desire to see manifest the patterns which arise out of a multiplicity of relatively simple interactions result in small continuous acts of collection, notation, arrangement and presentation of elements. The work is made of found objects. dictionary definitions and paintings - simple entities operating together to form more complex structures as a collective.
solo show
Under the influence of Moby Dick (Herman Melville), the ongoing ripples of 10 days alone in Iceland and working trips to the North Coast of Mayo this show represents three years of work. These paintings and objects represent a point along the path in the search for resolution of lifelong questions regarding the structure of the natural world. The desire to see manifest the patterns which arise out of a multiplicity of relatively simple interactions result in small continuous acts of collection, notation, arrangement and presentation of elements. The work is made of found objects. dictionary definitions and paintings - simple entities operating together to form more complex structures as a collective.
shown at Boltax Gallery, Shelter Island, NY May 2010
all relevant matters - 53x86" acrylic on canvas 2009 (private collection)
like a snow hill in the air - 40x52" 2010 acrylic on canvas 2010 (private Collection)
All sail being set, he now cast loose the life-line, reserved for swaying him to the main royal-mast head; and in a few moments they were hoisting him thither, when, while but two thirds of the way aloft, and while peering ahead through the horizontal vacancy between the main-top-sail and top-gallant-sail, he raised a gull-like cry in the air. "There she blows!--there she blows! A hump like a snow-hill! It is Moby Dick!"
this space between - 51.5x87 acrylic on canvas 2010 (private Collection)
2011. Presently, one corner of my studio holds everything I need. To the naked eye the contents are not obvious, ill defined, nay invisible. This corner, akin to an underground spring is sending mineralized, pungent elements essential to the life of a painting up my way.
I am spending my time next to this particular corner retrieving and answering to the bits and pieces, galaxies and ventricles that are bobbing up by me.
elision - 72x52" oil on canvas 2010 (private collection)
soul of a porpoise acrylic on canvas 40x56" 2012. On residency, at Ballinglen. I had taken a walk on the beach and came across the corpse of a porpoise. I couldn’t get it out of my mind, it infused everything, it moved me.
ballad of crow and the crab 72x54” acrylic on canvas 2011 (private collection)
le clé - 39x47 oil and acrylic on canvas 2011
I have begun to use metallic paint. The shine of things in Ireland seems to require it. I’m living in NY commuting from the Bronx to my studio on Mott St (below Mott St, 3 storys down in the basement, timeless space.) and visiting Ireland, preparing to return. Place matters. I’m painting in Ireland, in NY, from memory.
neap tide - 41x54" 2011
(private collection)
metonic return - 40x56" 2012
warm low - 35x43" 2012
(private collection)
