Visual Arts

drawing, painting, printmaking and all else


First slide
After Paul Cezanne's 'Melting Snow'
2017. Oil on canvas board.
Second slide
'Three Women" 2017. Pastel on paper.

“Art is neither good nor bad, but a clairvoyant vision of the nature of both, and any attempt to align it with morality, otherwise known as bowdlerizing,is intolerably vulgar...Unimaginative realism evokes only the smug pleasure of recognition.the painter becomes popular because he assures everyone else that he sees no more than they see...Art is suggestive rather than explicit: it makes no attempt to persuade into general agreement or provide mediocre levels of explanation...the bold imagination produces great art; the timid one small art. But the healthy eye does not see more broadly and vaguely than the weak eye; it sees more clearly...a real miracle is an imaginative effort which meets with an imaginative response.”

― Northrop Frye, Fearful Symmetry: A Study of William Blake

As an artist who wields the pen to produce both words and visual art, I seek to be conscious of movement—the relationship between simple elements that alters the understanding of the fundamental components. This encompasses everything from producing animations, where each frame informs the one that follows, to experimenting with a few simple lines so that they own a certain space behind it—and how loaded any such relationship can become. Such connections between different elements, that often become exceedingly tangled and complicated, seem to imitate interactions between living beings.

I am fascinated with the connection that develops between two colors that sit adjacent to each other, or a similar hue that is placed apart; this creates a color that one shade alone cannot perform. A yellow can describe a warm light when backed up by the blue of half an hour after sunset, which wouldn’t be the emerging night that it is without the yellow. And the viewers may say that the yellow is a white light—and in a way, that would be true too. It seems that a relationship like that is what evokes something intimate, something personal—memories, emotions, and all that lies in between—and lends to a connection between art and its audience.

I enjoy working with different media, including ink, charcoal, watercolor, and digital. In terms of subject matter, I tend to gravitate towards animals. This involves humans and non-humans, and in my works, the distinction between them becomes blurry and unimportant; sometimes animals are depicted as humans, humans as animals, and other times, the two are merged altogether. I see human gestures in animals and instinctive moments in people, and am interested in how depicting one with the characteristics of the other, internal or external, can yield to new understandings.


Drawing

Drawing and I are inseparable; I love creating imagery. I am yet to settle with a "specialty," but so far enjoy doing quick sketches of animals and people the most. Pencils are the most approachable, with charcoal, pastels, and pen with ink wash being other favorites.

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Painting

My "web design" sample is this website itself, but I also enjoy working on event posters, print material pages and the likes - anything where the colors, shapes, illustrations, text, and fonts, have to collaborate for a design that is visually pleasing and informative at the same time. What makes a design attractive to the eye, and how to make sure that the right things stand out at the same time? It all comes down to communication, and living at a time where information has never been more abundant, this is the question.

I enjoy doing book covers, magazine covers, magazine pages, book pages, event pages, anything. I like the experimentation, the potential of a really good design, and the slippery slope of a quarter of an inch making all the difference. Finding the color scheme and the right fonts is usually where I start, and then I tweak until it starts to make sense.

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Printmaking

Why do people look different, odd, sometimes downright strange in photographs? That doesn't look like you. We think we see things the way they look, but when you really think of it... so much of our understanding of people is dependent on the way they move. You know it's Max even if you're too far away to see his face, because the way he walks. Emily's smile is what it is because of the way it appears. Each "image" we see is informed by the image right before it - that is how we understand people. And things. Everything. Okay, maybe not everything, but almost.

Animation is amazing in the way that it's one of two art forms capable of imitating the movement aspect of reality. The other is film, of course... but it is certainly easier to be conscious of every controllable aspect of animation than filming videos, because it's so easy to give the camera a mind of its own. Compared to hand-drawn animation, that is, where you have to draw each drawing. Each static drawing. The magic happens - here comes my favorite part - when you put them together, one after another, and find the right timing. There is a definite moment of click when the space each image is taking up in the timeline becomes just right, and the animated series of images becomes something more than its sum. It takes a life of its own. That time-consuming manual labor (because there's no denying it is exactly that) of finding that timing is one of my great passions.

Below are images of the results of that passion - my personal projects. If you are a potential employer and would like to see them, please contact me via email.

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Digital Art

Why do people look different, odd, sometimes downright strange in photographs? That doesn't look like you. We think we see things the way they look, but when you really think of it... so much of our understanding of people is dependent on the way they move. You know it's Max even if you're too far away to see his face, because the way he walks. Emily's smile is what it is because of the way it appears. Each "image" we see is informed by the image right before it - that is how we understand people. And things. Everything. Okay, maybe not everything, but almost.

Animation is amazing in the way that it's one of two art forms capable of imitating the movement aspect of reality. The other is film, of course... but it is certainly easier to be conscious of every controllable aspect of animation than filming videos, because it's so easy to give the camera a mind of its own. Compared to hand-drawn animation, that is, where you have to draw each drawing. Each static drawing. The magic happens - here comes my favorite part - when you put them together, one after another, and find the right timing. There is a definite moment of click when the space each image is taking up in the timeline becomes just right, and the animated series of images becomes something more than its sum. It takes a life of its own. That time-consuming manual labor (because there's no denying it is exactly that) of finding that timing is one of my great passions.

Below are images of the results of that passion - my personal projects. If you are a potential employer and would like to see them, please contact me via email.

See more >>