Original - Janus

2 panel oil on canvas

43x30 inches

2021

Large scale figure narrative paintings in my most recent series, Private Domain, blend elements from mythology and alchemy, the forerunner of modern science.  Alchemical imagery, in particular, fascinates me because of the way in which it addresses duality or rebis, the core of human nature.  Rather than using conflict or violence to define human and cultural complexities, its philosophy focuses on dialogue as the source of problem solving.  My paintings have a similar intent but use different processes to explore the idea of rebis:  high contrast in light and shadow, unusual or awkward body language set next to graceful poses, multiple lighting systems and complex gender roles.  For example, in a recent painting, House Divided, I depict a house that is literally in pieces, and it is only held together by the presence of a powerful woman from whom growth and life forces extend. 

All of this seems to create a sense of unease which the viewer usually notes immediately.  I realized early on that this was occurring and asked myself why I felt the need to create tense and dreamlike narratives.  Here’s the main reason:  As an artist who was born, raised and still lives in the Southeast, I have always been aware of the beauty and complexity of nature that surrounds me.  However, I have also seen and been affected by the injustices experienced by people of color, or in fact, by people who seem “different” in any way from the “locals”.  As a child, my father, a small-town attorney, taught me to treat everyone as an equal, to the point where I was criticized and called names by many of my peers.  Although I did not experience the poverty and racism felt by others in my town, I did at least know what it was like to be “put down” and shamed by others because of my point of view.  I am certain that many of the conflicting and disturbing elements in my paintings come from these kinds of early interactions with the culture surrounding me.  I know that I can’t “fix” these situations, but at least I can try address them in my own way.   

In addition to alchemical concepts, there are also a number of Greek and Roman myths, along with Renaissance themes, that inspire me, including The Seven Virtues, The Three Graces and Mercury As Messenger. In all of my “re-enactments”, I place the characters in contemporary clothing and scenarios. Each of the figures are depictions (portraits) of people I know well and that adds a sense of gravitas to the image. The intent is to suggest multiple interpretations rather than create straightforward illustration of a specific narrative, a fitting choice in that alchemy and mythology by nature are about the process of transformation. At first glance, it seems that a real space is being defined, but in fact, the images are constructed from multiple viewpoints and lighting systems. Passages of volumetric rendering set next to more abstract, painterly areas, result in the creation of a virtual, shifting world where nothing is quite what it seems. 
Additionally, many of my paintings are constructed of multiple sections and parts in a way that suggests Renaissance altarpiece panels and the sectioning of graphic novels as a new way of storytelling.  I am also influenced by quilt making (specifically crazy quilts) that are made up of fabric remnants.  Like quilting, I am literally trying to “put the pieces back together again”, symbolizing a desire for healing rather than discord in our culture.  Overall, my intent is to move beyond either portraiture or a specific storyline into new realms of meaning and inquiry.