I think about the relationship between visual perception and thought often not simply in terms of immediate visual stimuli, but also the vast library of imagery each one of us carries around in our head. We see what is in front of us, but in a broader context of life experiences. For years, I have been taking photographic notes that serve as a collective library of imagery to draw upon when creating paintings. The work comes from a synthesis of these subjects, as they exist and as I imagine them. When I work, I am looking to de-trivialize the scene before me by weaving together images from sometimes completely different original sources—a thruway with a surging whirlpool, a row of vacation cottages and peacock feathers. At times, the image reflects multiple perspectives of the same place, intertwined. The synthesis of images may be subtly woven together or presented as an open dialogue, as in a diptych. This conversation between different images is at the center of my work. I am always working to create the form or structure to represent my own layered, enigmatic visual perceptions.
I often stay with a subject for a while, sometimes even years. The site, or subject becomes a part of my visual imagination often suggesting the interjecting of objects or effects from other sources.
I react to my environment, internalizing the objects I focus on. The paintings then come from a synthesis of these subjects, as they first existed and as I imagine them. The light always has an extraordinary way of transforming reality, suggesting a sense of an extended moment in time as the viewer visually travels through the work. This psychological perceptual challenge is at the center of my work.
I take numerous photographs of my subjects giving me the visual information I will need for my manipulations. I collage the photos digitally or with scissors and glue creating multiple macquettes. I want to consider the possibilities.