ABOUT THE WORK - watercolor and ACRYLIC:

The work in these galleries comprise two distinct stylistic periods from 2012 to the present.

Concerning the latest body of work (2016-present):

In late 2015, I experienced a significant shift in my direction. This was caused by a personal revelation pertaining to the aesthetics and vocabulary of Lyrical Abstraction - something which I had not previously explored directly.

An exciting additional consideration was that this approach would allow me to bring in - as a source of inspiration and thematic material - something which previously had not been there as an active participant, namely; Music. Realizing the long history associated between music and the visual arts, the attraction to continue such comparative explorations is something that I find irresistible.

In the current work, I am not attempting to literally interpret any particular piece of music, however I do sometimes attempt to coordinate to particular genres, composers and performers - though obviously not in a literal or representational mode. The challenge and satisfaction comes from allowing the paint to behave as music.

Concerning the work prior to 2016:

From roughly 2008 until late 2015, my primary painting methods generally utilized a heavy impasto application of paint in combination with some minimalist-conceptual ideas.

Although I had utilized similar techniques frequently in the past (please see the gallery of work prior to 2010), I had thus far not found a “theme” to which I could apply them consistently.

However, my thoughts kept lingering on the tactile experience as it related to objects - particularly objects with an "organic" sensibility (but not to be misinterpreted as something coming directly from Nature).

It was in 2012 while working on a some commission ideas, that my explorations led eventually to the series of works centering around the idea of so-called “organic pillows”, cushions and objects. While painting "Organic Indulgence #7 - Pillowness" (pictured last here)…the finished result seemed a satisfying resolution to the aesthetic and conceptual approaches I had been exploring.

The appeal to me of the quasi-organic aspect to an object of pure invention was in direct rebellion to the modern world's over abundance of mass-produced, inorganic manufactured stuff. I then joined these considerations with the additional facets of societal obsessions with pleasure, the obtaining and possession of objects, immediacy and gratification. It also seemed to me that the pillow - as an identifiable symbol to which most everyone could relate - has certain qualities of intimacy, comfort and familiarity.

Additionally, as a good part of my former and other professional life involved commercial photography, I began to paint the objects in a realist manner as if they had been constructed and then placed on a background and photographed. As my relocation to Hong Kong greatly minimized my working space - this approach also somewhat satisfied my desire to continue ideas which could be thought of as notions about sculpture as well.

Lastly, the cushions and pillows are deliberately presented alone and isolated. They are intended to be meditated upon - perhaps in a Zazen manner - as it is the singular object, it's simplicity and weighty presence within a space - which invites reflection and contemplation.

LWM - April, 2022

Hong Kong