From the beginning I always thought that things spoke to me, and I could ‘translate’. Their voices were Light and Hue, their Shapes and Forms many. For this reason I entitled the body of work, ‘l’Oeuvre Jinn’ (the Open Spirit).
Referencing my work in terms of ‘facets’, as one would a gem, is based upon my belief that Art is a tuning device and can convey emotion from one point in time to another. I’d heard an ancient story that Joseph’s Coat of Many Colors was made of precious and semi-precious stones he could twist to ‘cast light on’ some subject.
My approach and influences have been very catholic from Cartier-Bresson’s ‘decisive moment’, the theories of Itten, Albers, Arnheim to the works of de Stijl, DeCarava, Callahan, Parks, Krush and Erté.
The finished works incorporate the application of one or more of the surface treatments I’ve learned, e.g. chigari-e, eggshell, etc., providing balance to the technological production.
The ‘sensitive scientist’ in me sees commonality across cultures and times and seeks to connect the dots. Old to New; the reflection of Humankind in our interactions and objects we create; mythos, metaphysics, iconography and sexuality; all are arcs occurring within the context of l’Oeuvre Jinn.