The Artist Statement
(In three parts)
1. Conventional (academic)
2. Poetic (my preferred)
3. Reflective (kinda' whiney)
Though everything is too many things for one.
Save one and none.
Bemusing how options collapse on infinity’s stage.
Finding is motion.
We are led and leading.
and weighed in our crossings
but aspiring is my belief desired.
That endeavor bear’s being
evinces life’s assertions
and circumvents the caprice of society and culture.
Art is the vessel and fanfare of humanity
and gesturing in us as we gesture in ourselves.
Meaning’s revealed in our passage and passing.
Whereby, we are ever-beginning
emerging through the flux of our intimacy.
In closeness we dissolve
and being so,
create through our becoming.
Until into everything,
where we become as once we were
swaddled in the womb of mystery.
I’m vitalized by the power of images to catalyze or enrich our apprehensions, horizons and sympathy. The premise; that the shape of the artwork is formed through the spirit and spectrum of our considerations. The world; manifested in our actions and the relationships therein turn the wheel of our reality.
Current work includes paintings, works on paper, poems and digital media. The former two are considered as objects that explore the logic and poetics of visual articulation and form.
I am drawn to the continuity of visual production across time and culture. My research into this is a continual source of inspiration and renewal. The images of history are products of fortune and cultural selection. They represent our collective dreams, the mythological abstract upon which our world is constructed. My process approximates this filtering through continual revision and reassessment. Each work is often developed over significant periods of time such that each is in a sense imprinted with evolving apprehensions. By this, I gradually build images of increasing complexity and sensitivity.
In presentation, I orchestrate my work in dynamic physical and cognitive contexts, juxtaposing narratives, themes, digital media, and writing with and around my images. Thereby expanding and augmenting the range of possible perspectives through which a viewer might engage or interpret. In this, I explore the relationships and liminal spaces between perception, presupposition and experience.
Conceptually, I am interested in the influences that are common among us, and the ways in which they give definition to our identities, collectively and personally.
I see my work engaging in the confrontation between our humanist inheritance and the contemporary demands for economic efficiency and the growth of information technologies. The ethos is an ever-present existential quandary. Each choice, a change. Everything is intriguing and terrifying as the world accelerates its restructuring. How do we weight others and ourselves in the shifting and screening? How do we arrive at the meanings that give us a way to live? What will be the role of the artist in the emerging paradigm? I search to touch upon valences in our volatile cultural landscape through the lens of a person that enthralls in the actions of our eyes and the paths of the mind.
The young aspirant in me still feels:
‘Choosing a way to describe my work is undermining what makes it possible and valuable to me.’
I have considered it for over a decade and have returned again and again to the absurdity of the exercise. It is like forcing people against one another into positions of mutual detest. It is mixing colors into a scream with an otherwise outwardly calm presence. It is growing two plants against one another and spoiling the soil for both.
What can I say about my work? There is a discourse within it that is alive in me. I know it through the windows of the world. It sends me into the highest vistas and lowest caverns, and sometimes both at once. It is promise in all promise’s guises. It is the muttering of gossip and chasms beneath my feet. It is pathetic and tantalizing, intimate and aspiring. It fights itself and prays to find in the fight. It does this in lack of any other way to be, because always, there is nothing that hasn’t been betrayed, fulfilled or renewed in cycle and disguise.
It is about searching and finding. It is not a statement, nor is it intended to do anything. It is a segment captured in an always-changing moment for the eyes of the mind. It has a chorus: I am me, no matter where I draw the lines, they won’t stay still. I dream.
The reason for and of Art confounds and generates.
My working life is coated with a struggling thought, that spending my time in this way was indulgent or even solipsistic. Daily, I am bodily shocked at the conditions of humanity and the world we live in. Often too much to bear, I continue to discover this notion in the spandrels of my work. I find it anathema to brand the suffering, and trials of the world for presentation. Equally, to use our aspirations in the pandering of crowds. We are in the flow of our struggle and triumph. Truth is the thing to which there is no solution.
In each reflection I refrain, life has put me here, always divided. I am driven to ambitions of making and left with this work that is my hope to being. The dreams we chase consume our possibilities. I worry that all action is reducible to practical effect. I vacillate like a dog at its tail, between sacred hope and body crushing despair. Filled with answers, I have no answers. This is my attempt to make my myself worthwhile. I am staking my life on it and you can write that anywhere.
MFA. Brooklyn College/CUNY,
Summa Cum Laude, Fine Arts (Painting Focus)
B.A. College of Staten Island/CUNY,
Summa Cum Laude, Honors, Fine Arts
Teaching and University Work:
• Adjunct Assistant Professorship: 2010- Present
College of Staten Island/CUNY
(Teaching Drawing, Painting and Civics)
• Professional Staff Congress Liaison to Part-Time Faculty: 2016-2017
College of Staten Island/CUNY
• Adjunct Faculty Fellow to the Provost Office: 2016
College of Staten Island/CUNY
• Founding Director of the Adjunct Faculty Symposium: 2016
College of Staten Island/CUNY
(A Professional Development venue for Adjunct Faculty)
• PSC CUNY, Freelance Design: College of Staten Island/CUNY 2014
• Teaching Artist: Art Lab: Snug Harbor Cultural Center 2011- 2014
• Teaching Artist: Liberty Partnership Program 2012- 2013
• Research Assistant, Oxford University 2012
Professional Art Experience
Milton Resnick and Pat Passlof Foundation: NYC
• Project Manager: Milton Resnick and Pat Passlof Foundation 2011- 2015
• Studio Assistant for Pat Passlof 2008- 2011
The Painting Center:
• Curatorial Assistant 2009- 2015
Art Lab: Snug Harbor Cultural Center:
• Board Member: Faculty Representative 2013- 2014
Elizabeth Harris Gallery:
• Project Assistant 2008- 2011
• ‘Almost Like We Know’: NYC 2017
Newhouse Center for Contemporary Art (Smithsonian Affiliate)
• ‘Consumed by White’, Art Lab Gallery: NYC 2012
Snug Harbor Cultural Center
Select Group Exhibitions
• Art of the 5: Staten Island: 2017
The Galleries at the Interchurch Center (Catalog)
• ChaShaMa Open Studio: Brooklyn Army Terminal 2017
• The Dream Party: Shetler Studios 2017
• 21 and Counting: The Painting Center turns 21: The Painting Center 2014
• A Rich and Diverse Palette: The Visual Art Faculty: College of Staten Island 2013
• Black and White: Brooklyn Waterfront Artist Coalition 2011
• Small Works: The Painting Center 2010
• 2010 B.C., MFA Thesis Exhibit: Williamsburg, Art & Historical Center 2010
• Annual Invitational: Snug Harbor Cultural Center 2008
• The Fifth Annual Open Show: Art Lab Gallery 2008
Presentations and Artist Talks:
• “Almost Like We Know”: Newhouse Commons Gallery 2017
(Roundtable Discussion) (Video)
• Adjunct Faculty Symposium: College of Staten Island 2016
- Art Lab Summer Studio Program 2016
(Visiting Artist Crit)
• “Out Of The Pan”: Snug Harbor Cultural Center 2012
(Presentation for Arts Major students transitioning into the field of Art)
Grants and Awards
• ChaShaMA: ‘A Space to Create’ Program
• Staten Island Arts: DCA Premiere Grant (Formerly COAHSI)
• Charles G. Shaw Award: Brooklyn College/CUNY
• Graduate Investment Program Award: Brooklyn College/CUNY
• Foundation Art Award: College of Staten Island/CUNY
• Departmental Honors in Art: College of Staten Island/CUNY
Consultancies and Award Panels
• The Office of the Provost: College of Staten Island 2015
• Fringe Festival: San Miguel: Les Exportables, 2014
San Miguel De Allende, Mexico
• Staten Island Arts: Panelist review for DCA Premiere Grant 2013
• Black Mountain College Museum: Asheville, NC 2011-2012
(a Retrospective exhibit at Black Mountain College
and Western North Carolina University)
• “Core at Twenty” 2018
Celebrating Two Decades of CSI’s Dedication to General Education:
The Core Program
• “To Whom the Shoe Fits”: 2018
Milton Resnick and Pat Passlof Foundation
• Contributor: The Huffington Post 2014- Present
• Contributor: The Painters Table 2014
• Pat Passlof Retrospective catalog: 2011
Black Mountain College Museum
Professional Development and Academic Committees
• Student Success Institute Fellowship: CUNY 2017
• Campus Study Work Group Committee 2017
(Organized to review and
design pilots based on Campus Climate Survey): CUNY
• Officer- at- Large for PSC College of Staten Island Chapter: CUNY 2016- Present
• Experiential Learning Task Force for Students: CUNY 2016
• Adjunct Faculty Task Force (Group Leader): CUNY 2016
• Faculty Center Advisory Board: CUNY 2016
• Staten Island Community Television - “Non-Profit Matters” 2017
• Gallery Guide September (featured image) 2017
• Daily News (featured image) 2017
• SiLive.Com 2017
• Staten Island Advance 2017
• Examiner.com: Discoveries 2012: David Loncle 2012
• Scotland: Reviewing ancient shamanic visual descriptions (Pictish esp.) a their transition into modern Scottish form. 2017.
• Mexico: San Miguel de Allende and Mexico City: Researching folk art and its relationship to pre-Columbian styles. 2014.
• France: Paris and Aix in Provence researching Cezanne in relation to early 20th cen. painting with a focus on 10th street NYC abstraction. 2013.
• Istanbul: Reviewing the aesthetic shifts from Byzantine to Turkish art exploring the dynamic between cultural conceptions and aesthetic expression. 2012.
Significant On-Going Projects
• Book: “The Inspired”: A compilation of writings and correspondence from Pat Passlof’s 60 year career; accompanying interviews of fellow painters and collectors. (Expected Publication in 2018): Midmarch Arts Press
• Basic Printmaking, Animation, Art Handling, Basic Woodworking, Digital Cameras, Adobe Photoshop, Lightroom, Basic Adobe Premier and After Effects, Microsoft Office, Theater Production, Avid Gardner, Cooking, Robust Academic Knowledge and Curiosity and I can reach Items on Very High Shelves