Organic patterns and forms found in
nature have an instinctive draw. The theory of fractal geometry;
infinite layers of self-similar shapes repeated in every living
thing, hold an endless fascination for me. Plants, feathers, skeletons;
this enormous energy in nature influences my work.
The same way a plant grows following
the path of least resistance, the quick gestures and simplicity
of working with ink allows the law of least resistance to prevail
as the ink finds its path across the paper. There is an immediacy
to ink on paper, where every gesture and every flaw is readily
visible. With this process, I work intuitively through thousands
brushstrokes creating hundreds of small paintings. I then collate
the work, tearing out images that work together. When I find compositions
that intrigue me, I then delve into the longer process of collage,
taking the time to digest the image.
When the composition is complete, like
with Japanese Suiseki or a Chinese Scholars rock, each viewer
has his own experience as new images emerge from the completed
arrangement. The ephemeral quality of the paper and meditative
aspect of the brushwork evoke a Buddhist mandala. I hope by viewing
the work one is brought into this meditative dream state, searching
for completeness and self-unity.