For many years, as per common wisdom, I struggled to condense my work as an artist into an “elevator pitch”.
Generally, this is useful for the purposes of marketing, but it is also a task which can ultimately be extremely limiting to artistic growth, at least in my own personal experience.
Upon further consideration, I now realize that my oeuvre is a set of intertwined and parallel trains of thought. Within each series is a shared idea which unites the works both aesthetically and ideologically.
“Techspressionism” is a meme I have nurtured through the years, and in fact, in the pursuit of that “elevator pitch”, I have been inclined to describe my entire body of recent work in this way.
Modern tools such as the computer, the digitizing tablet, graphics software, and the inkjet printer are certainly deeply incorporated into my artistic practice, and a “technological aesthetic”, if there is such a thing, also informs several bodies of my work, most notably my Wireframe and Shodo series.
However, a recent turn of events prompted me to revisit and add to an older body of work, created primarily with pen and ink. This experience reminded me how limiting labels can be, as well as the true freedom art making can provide if the means are the end, and not vice-versa.
Long before I gazed into a computer screen, as a child, I experienced the joy of drawing and painting, and these pursuits, in my opinion, are the underlying basis for my work, not the technological layer which sits atop and informs many aspects of my current practice.
So for the indulgence of linguistically-minded individuals, below are links to brief essays describing each of the locomotives which pull my artistic trains of thought: