Figments & Fragments
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Hegel Today
Hegel today, Dogon tomorrow. Through the logos of ontic revelations there are moments of luminous grace. Eros and Agape come together presenting impertinent importunities, which add up to fragile occasions, unable to be monetized or memorialized. Bergson in the morning, Deleuze in the twilight evermore. Whitman’s song rings on, but Nietzsche takes the day turns
Fact, Fancy & Time Lapse
In the still of the night … Lamplighters quicken their step, rededicate to their luminary obligations. Landladies move to lock their front doors. (1842) The howling of the strays on the outskirts Give pause to stragglers who missed the last bus. (1931) A heap of peripatetic revelers tumble into the alley, at closing
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New Poem: Rosemary Leaving
Rosemary Leaving Time to go? So soon it seems. Despite the decades of (un)necessary decorum and disguise,no place to hide. But there’s unfinished business!Well, there’s always businessIncomplete, undone. Those canvasesleaning against the wall,For one. And sketches in a thousand (so it seems)Notebooks, journals, scraps of paperBetween the pages.Notes to Self, undone. What you (were) meant to
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Untitled, but does it really matter?
Untitled New ArtWork Does a title really matter? I use this experimental piece and the accompanying narrative to bring more explicitly art references and other influences into the story/composition. This multilayered, multimedia work brings a Mondrian-like scaffolding to a textured ground that is part earth-scape, part colour fields, part wall & paper debris, a conflation
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Infinite Gesture
A gesture is frequently how a new work of art begins. A mark, a line, or a swirl of paint from a brush or squeeze bottle. Where it goes from there is the “infinite”, the play of intuition, the ‘permission’ of the muses to reach into the infinite for a token of their magic. In
Season’s Survivors
Season’s Survivors: The Conception Story Acrylics on yupo paper mounted on wood panel. 24″ x 24″ x 1.75″. Recently completed after abiding patiently in the archives for eight years, awaiting the final completion stage. Sometimes it takes that long. This piece was conceived at my art studio on Bowen Island during the nearly three years of that
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Detritus Doubled
Detritus Doubled, each 18″ x 24″, mixed media on heavy paper. These two were created side by side, on the floor of the Studio. Can I call it diptych? The base is gold tempera. More apparent in one, as the other was softened with a creamy white. Then with oil pastel crayon I added gestural
The Artist speaks of his process
As one might gather from my portfolio, I’m a free stylist, or experimentalist. I take inspiration from a variety of sources – for example, artists of the modern era and of contemporary times. In decades past, I was inspired by Jackson Pollock, Gerhard Richter, Rothko, Picasso, among many others. Other influences come from literary, scientific,
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Another from the Improbable Landscape series
This is acrylic media on canvas, 24″ x 24″ x 1.5″. More details here
Another from the Improbable Landscape series Read More »