Painting with my feet has taught me to say more with less. Over the past decade my artwork has evolved into a paradox of complex simplicity. Landscapes are broken down into the most basic of shapes as they simultaneously explore space and time.
Although the work is straightforward in design, it’s created in a labor intensive fashion, tapping my toes against a canvas or board. At the beginning I eliminated anything resembling a toe print; I now use them intermittently to represent energy, unknown dimensions, time and strings. I strive for an ease of viewing at first glance—the intensity of the subject matter may not be noticed until later.
I’m fascinated by what may exist beyond the atom, past the known universe and the hidden dimensions in between. Quantum physics, parallel universes, wormholes, string theory, and time are some of the inspirational concepts on this quest. However, I’m an artist, not a scientist or physicist, and I rely on imagination, meditation and visions to transport me to other realms near and far. Most of my free time is spent daydreaming about the perplexing, invisible parts of the cosmos and how I can incorporate these images whirling around my brain into my art.
The results are dreamscapes where time distorts and ground hovers over dimensions yet to be fully known. Land masses open revealing light years within a couple inches of canvas. Worlds overlap and portals transport you to other universes. There is a blur between reality, mystery and fantasy; this is where my artwork lives. It’s an invitation to escape into everything that is unknown. The paintings are ultimately made to continually question what we can and cannot see.