By mixing paint and catalysts I recreate the push-pull forces
found in nature that shape and mold all things,
to create satellite views of this planet and places
scattered throughout the universe.
These are abstracts waiting to be called realistic, when technology "catches up".
TWENTY-FIRST CENTURY LANDSCAPE PAINTINGS
Learning about paint and nature simultaneously.
"Separated At Birth II" 32" x 48" Starting date 2001
This is one of three pieces cut from a 4' x 8' sheet of plywood,
includes paint and spray foam and two circular mini paintings, 2" di.
"Separated At Birth II" stayed outside for six years, another for fours years
and the third used in a performance and never outside.
INTANGIBLE ENVIRONMENTAL EARTHWORK ART
The main focus in my art experience is creating
a balance between my inner and outer self
by looking closest at the invisible forces
that shape and mold all things.
altitude and a host of other external catalysts. I want to maintain a balance
between my inner and outer self. If I lose this equilibrium I can become an intruder
to my own painting and potentially scar a Speed Element paint experiment.
Active paint is set into motion and I experience a Reactive Improvisations
and I take my rightful place as "part of the universe" and not the "center of it". This art concerns itself more with the "actual" in art and life;
through a physical investigation of paint and our planet.
Eventually I was led to leave "art of the mind" and create a direct
relationship with the actual world to reveal information that can be
found no other way.
New Jersey just east of Manhattan, September 2001
Following the same procedures in making a painting in:
Death Valley in
mid summer, the Arctic Circle in mid-winter
or the balmy island of
Tahiti, will create different results/visions.
It stands to reason why
every place on the globe looks unique.
Realizing that art books could
no longer answer the questions I had about paint itself, that new
avenue of thought led me down new aisles in the library. Eventually, I
took such books as Emerson’s “Conduct of Life”, and replaced the word
“nature” for the word “paint” to create the art books I sought.
was launched on October 4th, 1957, (SPUTNIK),
Io, a Jupiter Moon January 1, 2005
Something Very Different Can Still Be the Very Same Thing
on the ground. Often, the image I offer is meant as the initial image to embark.
I.E.: The painting below has a red circular painting within the larger painting.
The yellow hazy dot within the mini painting represents where the larger
yellow painting exists from a distance.
"This Place, This Location", 48" x 36
Speed Element paints on canvas. 2004 & 2007
"This Place, This Location" (Close up), 48" x 36
Speed Element paints on canvas. 2004 & 2007
(The yellow hazy dot inside the circular mini painting
shows the outside painting from a distance.)
Solo Exhibit "Earth To Ken" 2007
(From left to right - "Long Island and Connecticut", "Blue Cavern", Blue Skies")
"A Brief Moment in Time" 2001
A planet surface is a visual record of past events;
the same is true for a Speed Element experiment.
Satellite photograph of YUCATAN PENINSULA (2001)
"Two River" 48" x 36" 2003
The last few generations have seen nature from above first hand in planes,
and/or
with satellite views, and space based telescopes aimed at the earth
and outward into space to visualize
neighboring planets and beyond.
We continue to actualize where we exist.
Saudi Arabia 2003
St. Patrick's Weekend Snow Painting March 2007
(This was painted during the sleet section of the project.)
The result of the St. Patrick's Weekend Snow Painting 2007
In this case, freeze dried paint that looks very much like lyken.
The East Village, New York, Roof Top Studio (Feb. 2006)
These "reactive improvisations" give me a greater understanding
of the actual, physical dynamics of our world.
