Biography and Resumé

ARTIST'S STATEMENT

I am constantly inspired, perplexed, curious, amused, and awed by the mad river of art and life. All of it influences me in some way, and as I sift through it, some stays with me and shows up in my work while other aspects pass on through, finding no resonating hooks in me to grab on to. Virtually anything is good fodder for creativity if it elicits a response and sparks a new awareness.

That said, the influences that most tend to show up in my work these days include the following: Mood. Feeling. Celtic and Norse spirituality. South and North American shamanism. Mysticism. Animals. Music. Nature. Sacred geometry and mathematics. Patterns. Childhood memories and perceptions. Worm holes. Time travel. Dreams. Subjective experience. The sublime. Nonverbal connection. Facing personal demons, finding grace, uncovering peace. Seeking. Muddling. Forgetting. Remembering. Conflict. Forgiving. Paradox. Epiphany. Animal tracks. Fingerprints. Identity. Community and individuality. Cells. Cultures. Thought processes. Beliefs. That which can’t be seen or measured. Energy. Multidimensionality. That which is hidden. Addiction. Insecurity. The space of a question. Beauty is not a dirty word. Ozzie and Harriet were laundering money for the mob. States of awareness. Non-linear communication. Myth. Habit. History. Timelessness. Hope. Everyone is innocent.

Most of my work tends to use color and texture as the driving force to evoke and explore the feeling being defined. The canvas becomes a conversation and a meeting ground for questions and contrasting feelings seeking collaboration, clarity, unity. Sometimes no collaboration is reached, and the question remains unanswered. But the time spent sitting with the question is important. Allowing oneself to stay in that space of not-knowing is equally important as discovering answers, and can be hard to stay present to. The act of staying in that non-knowing can elicit feelings of anxiety, frustration, sadness, wistfulness, even humor and irreverence. (For example, “Dunce Cap With Gun” or “Stormy Passage”) Other images take on the purpose and purposelessness of a child’s fantasy and sense of humor. Their lightness is their substance. (For example, “Monkey Totem and a Newspaper,” “Untitled 24.”) My work is intentionally non-intellectually driven: I don’t lead with my intellect when I paint, but rather, let the mind reflect on what is emerging, after the fact. In this way I find that painting becomes a dialogue between the unconscious and the conscious mind, and often is able to show me things, much in the way that one would interpret their dreams. I find that the intellect is an incredible tool and good friend, but everything works better, include painting, when the intellect isn’t driving the boat. When I trust my instincts to take the steering wheel, I find access to a much broader perspectives, and to pathways I didn’t even realize existed. And that means relinquishing control over what I think I know. It’s a willingness to stay in beginner’s mind (sho-shin) and be the fool, in order to be open myself to new ground and new ideas. I like to let my intuition be my guide. The analytical mind can always step in afterward, to help synthesize and integrate.

Some artist faves include: Paul Cezanne, Jean-Michel Basquiat, Squeak Carnwath, Cy Twombly, Richard Diebenkorn, David Park, Wayne Thiebaud, Alice Neal, Lucien Freud, Frida Kahlo, Julian Schnabel, Henry Mattise, Shepard Fairey, Kathe Kollwitz, Wasilly Kandisky. Peggy Cyphers, Sam Sartorius, Christos Koutsouras, Shag.

RESUMÉ
		GALLERY REPRESENTATION:
		Editions Limited Art Gallery, Indianapolis, IN
		SELECTED EXHIBITIONS (*Solo Shows):
	2008	Art Exchange juried exhibit, New York, NY
		Editions Limited gallery, Indianpolis, IN
	2007	IDADA Members Juried Exhibition, Stutz Art Gallery, Indianapolis, IN
	2006	*Assorted Flavors , Beck gallery, New York, NY
		Editions Limited gallery, Indianapolis, IN
	2005	427 Colyton Street, Colyton Gallery, Los Angeles, CA
		Editions Limited gallery, Indianapolis, IN
	2004	8, Circle Bar, Indianapolis, IN
		*Conjunction Junction, Harrison Center Gallery, Indianapolis, IN
		Wheeler Arts Spring Show, Wheeler Arts, Indianapolis, IN
	2003	Wintergreen Show, Harrison Center Gallery, Indianapolis, IN
		L.A.M.P., Chatham Center Fine Art Gallery, Indianapolis, IN
		‘Scapes, Harrison Center Gallery, Indianapolis, IN
	2002	The Red Show, Harrison Center Gallery, Indianapolis, IN
		Allotropy, Curated by Primary Colours. J. Mavris Space, Indianapolis, IN
		L.A.M.P., Chatham Center Fine Art Gallery, Indianapolis, IN
		*Full Spectrum, Vick’s Downtown, Indianapolis, IN
		Neighborhood Show, Harrison Center Gallery, Indianapolis, IN
		The Pink and Orange Show, Harrison Center Gallery, Indianapolis, IN
		*Recent Works, Clowes Memorial Hall, Butler University, IN
	2001	Toys Show, J. Martin Gallery, Indianapolis, IN
		*Recent Paintings & Drawings, Durwyn Smedley, Indianapolis, IN
		Art Parde, Stutz Art Center, Indianapolis, IN
	2000	The Stutz Juried Show, The Photography Gallery, Indianapolis, IN
		Art Parde, Stutz Art Center, Indianapolis, IN
		The Herron China Show, Lucas Gallery, Indianapolis, IN
	1999	Sinsation, IU Fine Arts Gallery, Bloomington, IN Curated by Judy Chicago.
		PUBLIC SPEAKING ENGAGEMENTS AND ARTICLES:
		Nuvo Magazine, Q&A Article, January 2005
		Art lecture, visiting artist at Indiana University Kokomo, Indiana 2003
		Interview, Art of the Matter radio program, WFYI radio (Indianapolis, IN), aired on November 23, 2002
		Article with photo, ArtsIndiana magazine, winter issue 2001
		CORPORATE AND PUBLIC COLLECTIONS:
		Lincoln National Corporation, Fort Wayne, IN
		University British Columbia, Vancouver, BC, Canada
		Newton Becker Bouwcamp law firm, Indianapolis IN
		PRIVATE COLLECTIONS:
		Please inquire for full list.
		EDUCATION:
		Herron School of Art, IUPUI General Fine Arts 1996-2000
		IU-Bloomington, B.A. 1995