Portfolio
- This page has links to my work as well as some links to a few exhibitions.
- My MFA theses exhibition link is below.
- A link to images from my atelier experience is also included below ' The Actual Experience is the Work of Art'.
- I have been wildDreamer for all of my life.
- In 2001 I labelled myself as a PostConceptual pluralist. However, I think labels are for art historians, and to be frank art history can only be written in retrospect, so I will leave it to the future art historians.
Painting
- These are projects I have created over my lifetime and still research.
- Style and materials are elements that contribute to that particular object's conceptual need.
- ' The Actual experience is the Work of Art'.
- What is the space Between Presence and Absence?
- The child in us keeps us alive.
drawings
- The simplicity of line and color.
- We are so Familiar with our life that we are Blind to the Actual Experience.
- We are Connected
- Creating art is not about being imprisoned by popular social or academic ideology, it is about personal freedom. I still do believe that one should be knowledgeable and not merely a hobbyist (to be taken seriously and be part of the dialogue).
- My Intuition which is comprised of my knowledge and life experience gives me strength.
retablos
- The conceptual world for Retablos was born in my childhood. I appropriated it in 2003 and will continue it all my life.
- Retablos are personal altars or shrines of worship.
- God has no Religion.
- I value the small and intimate scale of the Retablo.
- THe Retablo is a gem.
June 2011 Beland Gallery neuroMorphic Installation
- Beland Gallery Essex Art Center, Lawrence MA, June 17 - August 11, 2011
- Site specific installation
- Connection
- I have always been awed by the life force
- Evolution
2012 NKG Boston NeuroMorphic Installation
- NKG Boston, Boston MA, May 2012
- Site specific installation
- Paintings for Children
- The child in us keeeps us alive
- We are connected
MFA thesis: NeuroMorphic Universe
- A very painful experience in 2003 was intolerable and in order to survive I had to let go of everything. In the process of falling, screaming with eyes open, I discovered and created the NeuroMorphic Universe. This universe is how we are connected.
- The NeuroMorphic Universe exists in biological and sociological systems.
- It is microscopic and macroscopic simultaneously.
- My interest in archaeology as a metaphor for the unconscious (as presented by Sigmund Freud) led me to the use of 'stones' (saxa loquuntur) along with my NeuroMorphic Trees . The stones are simultaneously cellular. The NeuroMorphic Trees and stones also embody archaelogically what is hidden and unconscious (what must be excavated/found/unearthed/search for self/meaning), as well as time and life.
- 'Words are Seeds' project is part of this NeuroMorphic Universe. 'Germs' project is also part of the NeuroMorphic Universe.
- In 2006 I presented my MFA thesis at Tufts University/School of the Museum of Fine Arts Boston. Its title was 'NeuroMorphic Universe'. I chose the style of the work influenced by the history of manga and anime in Edo period Japan. I had written a short art history thesis paper on manga and anime and its effect on the 21st Century and was aware of it being a good example of how art can influence cultures slowly and quietly over time (with no need of bloody revolutions).
- A very important part of the thesis was 'the Actual Experience is the work of art' as a performative element. I enabled the audience to participate by giving them the option of painting their face or body becoming parts of the the NeuroMorphic Universe.
- The entire gallery was painted in sky blue intentionally as a metaphor of interconnectedness and representing my cultural bias.
- The work comprised three rooms in the Aidekman Gallery at Tufts University. The first room (gallery entrance) had an installation that was a self-portrait. This was presented as a drawing of a NeuroMorphic tree that was the entire wall of the room. A pedestal and bookshelves had very important books in my life as well as a few hundred small sculptural 'I guys'.
- The main gallery space had small and large NeuroMorphic Universe paintings.
- The third part of the gallery had paintings, 'I guys' throughout the room and a video installation.
Paul Ingbretson Atelier (under construction)
- The Boston Painters heritage is a rich tradition of information on how to see the light. It is an unbroken lineage starting from the french artist David and extending to Paul Ingbretson who was a student of RH Ives Gammel. As such I also became part of that unbroken lineage of knowledge when I studied under Paul, which I greatly treasure.As a physician with knowledge of the working of human anatomy I was able to appreciate and understand the principles beyond the actual learning of the practice. I also knew Richard Whitney another pupil of RH Ives Gammel and visited with him in his farm in NH. In my practice of art I use these Boston Painters principles when I choose, though I did not choose to do this particular 'style' as a way to execute all of my work in its myriad of projects.
- Every day, five days a week we would start working from light to dusk in the atelier. We had individual studio spaces all with north light. For the first year one would solely do the cast in charcoal. This was a time that really had the greates impact in learning how to see the light. In the second year we started drawing the live model every day in the same manner as the cast drawings with northern light. Lastly we then segued into painting with oils and this was the time period that I decided to leave the atelier as I did not want to ascribe to the rules of composition that were espoused (though I learned them) and the rules that one had to do only the actual color that one saw, as I loved just inventing color that may not have been there for the actual visual experience. However, I did a few paintings obeying all the rules before leaving the atelier.
- My time with Paul Ingbretson was a priceless gift that I am grateful to have had. Otherwise I would never have learned to see the light as it is not knowledge that is widely available in conventional arts education in the undergrduate or graduate level.
- Though I cannot 'site-size' in my encounters sharing a live model with fellow artists nowadays, I still site size at my private studio if I wish.