Sculptural painting/photography integrates encaustic painting, wood, metal and photography to surprise the viewer! These unique pieces invite you to explore sensual textures, patterns, edges and unexpected angles of various proportions and permutations. Starting this journey as a furniture maker, my works are both personal and heavily influenced by architecture, industrialized shapes and manufactured objects.
Creative works challenge the viewer to see each piece either in two or three dimensions, through usage of multiple mediums. One explores how the pieces interact with the space surrounding it, including shadows from the various textures used on the surface and edges. The viewer is drawn to spend more time examining the pieces close-up to explore the subtleties of texture and detail-- after first being surprised, from an quick, initial glance. It is the power of motion, and subject matter that provides an unexpected strong emotional connection between the piece and the viewer, making these one-of-a-kind originals unforgettable.
Work is heavily influenced by architecture, industrialized shapes and manufactured objects. These sources have strong lines with color fields that are often more opaque. Nature, and in particular rivers and creeks, influences my sense of movement and dynamic motion within the piece. When I look at water that is moving, there is the ribbon of continuity, but between are often rocks and other features that create strong points of interest. In this way, I am drawn to consider how points of interest and continuity interact and connect through line and composition.
Through the usage of encaustics, I have been able to bring sculptural aspects to my paintings and photography. The encaustic's application can be reheated and manipulated by layering, scraping and carving with various tools and refining the surfaces with solvents. Encaustic painting is exciting to me because of the depth of the surface, the way it captures light and its versatility. Because encaustics is a fluid material when heated, one needs to work quickly and allow the wax to not control you. This means working quickly by making decisions and placing the stroke to create a texture in a very rapid fashion. For me, this decisiveness and loss of control is very similar to white-water kayaking. From my time on the rivers, I've learned that you have to take advantage of the water's power, but fighting the current will never get you any place.
I came into photography, in part, as a way of sharing a creative experience with my wife. In that process, we used it, to enhance our travel and explore differing aspects of each other's personality. Along the way, I really enjoyed the creative process and incorporated it into my pieces. In that journey, I took a break from photography, to pursue abstract/non-representational art for a few years. Non-representational work focused heavily on understanding movement and dynamic presentation and how they influence a piece. Having come back to photography, that insight from understanding how to place objects, so there is movement through a piece, has been showing up in my photos. By large, my images are a study of movement, depth of field and tonal value changes.
Photography provides a fun way for me to see the world in many different ways. I have often remarked that my tendency is to run around without slowing down, and photography really does force me into the position of slowing down and seeing things on a micro level. Many of my images draw off of strong geometric shapes and have connections between objects. These connections are created through contrast, line, color and texture. Essentially they tend to be tight and macro and the narrative is open for discussion, as much as defining what that object is.
2013 - 2014 The Violette de Mazia Foundation, Barnes Foundation, St. Davids, PA
2016 Schuylkill Valley Journal – Mixed Media, Multiple Meanings
Works Owned by Institutions – University of the Arts, Philadelphia (Photography)