Artist Statement The artwork I create is simply a celebration of the wonderful things I see in nature. It is my expression of the drama of a thunder storm rolling in from a distant horizon, the mesmerizing rhythms of the ocean waves, or the reassuring abundance evidenced by fertile fields stretching as far as the eye can see under magnificent open skies. Growing up on my family farm on the unbounded prairie of South Dakota made a deep imprint on me that formed my aesthetic. The austerity of that vastness leads me to a meditative, minimalist style of work rich in color and vibrant light. I strive to convey the feeling of a particular place in time by capturing subtle details of color and light and texture punctuated by crisp geometries that serve as portals of entry into an atmospheric softness of vibrant color. The suggestion of a flat, far horizon is the jumping off place into meditations on the infinite. The work invites you to embark on a journey to a beloved location in your memory and imagination that is both restful and regenerative.
Today I drive all over the country to exhibit my artwork and take thousands of photographs from the window of my speeding van. Those shots serve as blurred reminders of the feeling and atmosphere of a particular moment and capture my fleeting connection to the location. I pan through those images on my computer the night before I go to the studio. Once at work painting, I listen to some good jazz and let my memories and intuition guide the work.
The malleable nature of fine art printmaking is the most effective and beautiful medium for my expressions and I have focused on innovative work with monotypes, which are made using a combination of painting and printmaking techniques. I use palette knives to paint with oil-based printing inks on Mylar then blend the inks with rubber rollers of various sizes to create the soft color blends. When I am satisfied with the image I place a 100% cotton printmaking paper on the ink painting, lay them sandwiched together on the flat bed of an etching press and roll the press bed under the pressure cylinder. The wet ink painting is transferred to the paper. I am continually enchanted by that moment when I pull the paper from the inked plate to see how my image has magically transformed under the extreme pressures of the press. Only one transfer can be made from the painting. Unlike other printmaking processes that have a permanent matrix allowing for multiple pieces to be printed, only one original monotype can be created.