Statements on Art


May 1999, Gelnhausen
My work has involved the use of "Mark Making" in the creation of site specific installations in architectural settings. By using materials as varied as Boun/True Fresco and cliché-verre, the installations address the use of aesthetictformal elements as they effect the meanings of works of art. By incorporating the architectural elements of the site i.e. by using the wall as both support for objects and the skin of the room, the works direct the viewer to consider the experience of art as a totality. Color, which under traditional applications has come to signify emotive values in some aesthetic usages, can also be used to articulate the form of the work as it delineates space in both its physical sense, as it reiterates the surface of the wall and as it conveys the illusionistic qualities of a painted/photographic surface.

The photographic aspect of the work, with its use of printing out paper to measure and react to light, invokes the temporal. Theses works lead the viewer/observer to take into account not only the real time experience of the site but also the time frame of the installations existence. Time and place act as an immediate modifier of our experience with objects and the space they occupy.

It is with this foundation of concepts that my work has evolved to this multi level interaction of art and site. It is my goal to create works which present time and material in a new context, using the elements of the photographic process.

My work stands not in opposition to anything in Art but rather as an articulation of what is possible.

May 1995, Köln
Art is a process which accumulates thought

thought is a process which provides the possibility of form

Thought in works of art is expressed in formal decisions

Form in works of art is the object occupied by decision making

November 1993, Paris
The goal of the Artist is to produce Art that creates a context.

Without context neither knowledge nor understanding can be reached.

It is the goal of Art/Artist to create an object/action so profound that it occupies its own position.

The failure of technology (in Art) is that in its desire to create the new it ignores the creation of a dialogue with the history of ideas.

December 1991, New York
Art remains, even in the late 20th century, beyond the official recognition of merit. Take for example the exclusion of the visual arts from consideration for the Nobel Prize.

This lack of inclusion is not important for what it intends but rather for what it includes.

Modernism has maintained its influence because it was one of the first true manifestations of the international ideal of a unified and shared culture.

This sharing is the meeting point of late 20th century Western Art.

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