Two for Mirth
Medium:Linocut and gold leaf on hanji paper
Paper and Ink: Two magpies in black, flowers and ladybugs. Surrounded by gold ring.
Mankind’s history is a collective search for knowledge, limited by the inherent boundaries of our consciousness. This predetermined ability separates the world for us into realms of knowable and unknowable. It is in the unknown where my art resides.
In paintings, drawings, and prints I emphasize the holy, the mystic, and the sacred. I advocate a return to ritual and a rejection of the ego, challenging the belief that scientific exploration has the capacity to describe the details of the universe in all forms. Drawing on themes of death, myth, and beauty, I base my work in the natural world. Flora and fauna reference totems, icons, and emblems; objects of veneration. With delicate details and intricate compositions I emphasize the intersection of the known and the unknown, and the resulting mystery we experience from the limitations of our perception.
Symbolism in my work allows a deeper engagement for those interested in the process of decoding, but the art isn’t dependent on that ability. Aesthetics are a point of accessibility when the clues I’ve included aren’t relevant or recognized. In this way, my intent is not to lead or instruct. The process of making is exploratory and devotional, with the end product becoming a relic of that search. My aim is that this relic facilitates for the viewer a reflection of the mystery that results from the pieces of our world we are unable to know. As such, I find it unimportant that they see exactly what I see. What I find important is creating art in which the viewer sees something.