Read, “Silent eye and The Eye In Time,” recently published in the online rich-media journal, Academic Intersections.

My work explores the links between painterly matter and the expressiveness of digital codes, combining a predilection for new narrative structures, experimental and avant-garde cinema similar to the works of Maya Dern, Stan Brakhage, and Chel White. There's a kinship to Bill Viola's early inquiries into the structure of perception, the nature of time and the relationship between body and psyche and a connection to social theorist Jean Baudrillard’s linking of illusion to the sphere of desire. In both painting and my digital works I draw visual inspiration from Max Beckmann, Henri Matisse and the Bay Area Figurative Expressionist School of the 1950’s that included David Park and Richard Diebenkorn. The genesis of my work lies in imagination where impressions are composed through superimpositions and successive stratifications, generating a texture that intertwines rhythm and poetry in their final form. I see no distinction between different types mediums and material as I consider myself a visual artist above all else. Knowing this allows me to choose whatever tool I like to create work from charcoal to software from canvas to ice, as a visual artist I see no restrictions only possibilities.

The virtual has become commonplace, limiting viewer sensation, denying totality of experience restricting full access to content tending towards fantasy or intellectual result. In art the image, object or installation alone are derisory. In my opinion, art needs immersion, time and interaction with all senses to deny the virtual and return the participant to experience. This is why I have transitioned from the sole act of painting to work in forms that blend the visual, experiential and intellectual as in time-based painting and installation, while still maintaining connections to the painterly form and aesthetic. In my installations I will use organic materials such as honey, milk and ice to involve the all the senses in perception. This imparts a transient nature to the works giving them a life cycle of birth and death. In this way I extend the scope of signals viewers receive in order to arrive at an intensity of experience that elevates the sensate to vanquish the object and allow for a whole experience; one that is ephemeral like life, leaving only an imprint in memory.

The impact of any work lies in its ability to engage the viewer. This can extend from a simple response of the visual elements in a work to its capacity to inspire a deeper level of thought. In my time-based paintings, the montage, superimposition and variance in frame rate of the visual and narrative elements involves the viewer directly with the underlying conceptual aspects of the work. In my installations I enhance and deepen the viewer’s involvement through the sensory affects of the organic materials used; engagement of public and private space; external and internal senses; universal and personal time. From either my hope is to move them to a stronger level of reflection on the conflicting ironies of their "civilized" condition.


My creative investigations are divide into several related areas: traditional painting and drawing; immersive and interactive cinematic installations: time-based painting; digital visualization and live performance. I’ve come “full circle” in my artistic and creative research and expression through my work with time-based or projected painting and immersive installations. Our perceptions and ways of extracting understanding from the visual have changed due to the ubiquitous nature and revolutions in art, visual culture, telemedia and cinema. My investigations challenge the fixed nature of the narrative image and the physicality of painting while still maintaining a strong conceptual tie between traditional and new visual art forms. I am interested in artworks that are more akin to episodic cinematic cycles with imagery, compositions and narratives that exist in time. I examine how our perceptions have evolved; how we understand new narrative forms; our adapting ways of extracting meaning from visual information; in effect how we’ve changed how we “see.”  In my opinion we’ve modified our eye, shifting away from a “silent eye” conditioned to fixed-imagery, perspectives and narratives to a new more cinematic eye or “eye in time.” This new eye is different from the silent eye of the late nineteenth and early twentieth centuries as it readily sees visual narratives in time-based artworks that incorporate nonlinear sequence, montage, superimposition and variability of frame rate. These artworks can be delivered through a variety of means in an almost constant stream, from installation and live performance to broadcast, net-cast, broadband wifi and digital signage.

NOTE: For a more detailed explanation please click the link to my article, “Silent eye and The Eye In Time,” in the online rich-media journal, Academic Intersections.

ON MY TEACHING (click here to go to online pod courses)

It is important to inspire students, to engage them in the creative process and to encourage them to be active learners.  It is crucial to create a dynamic learning environment that is “project-based” resulting in creative works that can be held up to a critical discourse.  Students should be urged to work outside the distinctions of any one particular medium; to start with an idea or concept first, then to see how best to express it through one or any combination of mediums. They should be free in thinking there is no conflict between art and design or in their choice or combination of materials and process but to embrace all these together as a whole. Adopting this approach allows me to direct their attention towards a final objective that they define themselves.

The underlying approach to my teaching is in creative problem stating and solving. This requires an open learning environment that is critical and natural. The critical aspect enables students to formulate insightful questions that examine concepts, aesthetics, theory, and process. As a result they make rich work and develop informed opinions and critical thinking in their creative experience. Establishing a natural learning environment requires a focus on the how an individual students approaches creative work or frames questions and problems that are of interest to them personally. This requires a dialectic approach that engages students in critical thinking and enables them to understand their ideas and questions in a larger context.

Experience is a powerful and true teacher. As students actively and creatively problem solve in the studio, they directly experience questions and challenges that arise from an engagement with their work. By teaching them to apply specific concepts and theories during the creative process they learn to answer questions that arise and to face the challenge of making the work itself. This results in the ability to frame the next question or action in the subsequent steps of their individual process.

No matter what the medium or tool of expression is, it is important to first teach students how to “see.” That is, how to understand the external physical world and their own internal world and translate this into a set of visual metaphors or icons, indexes and symbols, creating their own unique visual language. This is manifest through the mark or color on a surface, the cut and plane of a form, the fixed pixel or moving image, engaging the physical world though installation or any combination of these.

Project-based learning is the most effective way to challenge students and involve them in a complete learning experience that engages them in higher-order intellectual activities that surpass a listen and learn approach. It involves students in an informed sense of play and experimentation that is at the center of the learning experience. They actively analyze, evaluate and compare ideas, apply concept to theory, theory to process, process to practice synthesizing all aspects of the creative experience. Projects are built upon one another so that discoveries made in one instance are applied, reinforced and developed in the next. From this, students become independent and intuitive thinkers who act creatively and work in innovative ways. They explore and push the boundaries of materials and processes thereby being prepared not for what can be done today but for what can be imagined tomorrow.

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