These recent watercolor images reinterpret narrative and landscape and the roles of painting and photography.  I think of narrative and landscape as replacing the misconstrued terms- content and form.  Narrative is dependent upon the delineation of outlines that refer to matter.  From Greek vase painting to the fresco paintings by Giotto and Mantegna, the image is oriented around the narration of bodies. Comics are the significant manifestation of this use of delineated outlines and are truly 'classic' and democratic. Landscape, by contrast, is a depiction of space in which things disintegrate and dissolve with distance; matter is transformed by distance and begins to take on the musical qualities of time, history and, at the horizon, the future. Titian, one of the first to emphasize landscape (background) could be told by Michelangelo that he did not know how to draw.  I use the tension between narrative and landscape to illuminate images from history, nature and myth and explore themes of cruelty, beauty, knowledge and idealism.   

       This current work also plays with the roles of painting and photography.  The process used to make these images is a simple technique that uses chemical and physical processes and is based upon chance.  The images are created serially as meditations upon a theme and act as snapshots of an event or concept.  Consequently the singular images share inspiration and rhyme within the group.  Mimicking the paper 4 x 5" photograph these 'camera-less photographs' assume peripheral art status which rely upon photography for relevance.  They are gentle and personal.  They tend not to preach.  And they tend not to pose as art.

       These investigations into narrative/ landscape and painting/ photography are intended to unify and reinvent art by moving away from the stale attempts to logically follow a chain of causes and effects.  The point being that it is not products that 'influence', but creators that 'absorb'.   As Nietzsche says "art is the lie sanctified".