I found an enigma in the car crash paintings. Epitomizing a moment of spontaneous, violent change, the subject, whether as lone wreck or arrested in an impassioned epicenter of collision, becomes the site of organic abstraction and transmutation. The reliable, mass produced icon of American idealism and identity becomes a new being born of fatality, an animal of social critique and individual tragedy, and hopefully a bridge between the two. Like my landscape paintings or organic abstractions, their goal is a clear statement of complexity and a simple but bold affirmation of life in all its forms.
That thread of affirmative, organic absurdity, of ideas or people, as celebratory, creative and essential is what connects my work. Compositions of balance give resonance to landscapes of metal, color and human frailty. Cars of twisted metal, dead birds under a rainbow, a house on fire in the woods, or a wooded view of thrown and speckled paint all forward a sense of play, a view of the world that is sincere without being serious, and a glimpse of an organic presence that underlines it all.