Prints: Untitled (Chevron), 2014


I usually don’t revisit artwork once it’s been retired. Last year, though, I was asked to reconsider and take another look at my Chevron print of 2012. While initially reluctant, I said yes (I’m apprehensive about delving too deeply back into the archive for fear of watering down—or extinguishing—that initial spark. I’m also inclined to keep pressing forward and letting the past speak for itself. There are so many ideas and so little time that I’d rather just work on something new). But, alas, I’m getting off-topic. In short, I’m grateful for the extra arm-twisting because it allowed me to see the work with fresh eyes and perhaps bring something new to the table. And lo and behold, inspiration struck.

The latest addition/edition from Fall 2014 was something that popped into my head fully formed: the chevron in green and gold. That was it. No fussing with swatches, no anguished sketching or scrutiny. It had to be be kelly green and metallic gold—right from the get-go. If pressed for some statement on inspiration, I’d say that these colors simply remind me of my hometown. That’s not a statement of longing (nor one of criticism, for that matter), it just is.  It’s an abstraction of things in the air in that place—an apt representation that just feels right.

Prints: Untitled (Corporate Identity)


It’s finally here! My latest four-color print is now complete. Actually, it’s been done for a while but I’ve been wrestling with the decision of which way to orient it for quite some time. You see, these are the types of decisions that really occupy my time in the studio. You know, the really, truly heavy ones. Like, whether it’s the bright orange and purple on top or the magenta and metallic gold.

Bright, saturated color was what I was after with this guy—and pursuing something a little more complex than my typical two-color editions. I’m looking forward to exploring this route further. Two-color art—and even one-color work—can be beautiful, but why put a limit on it? One of my favorite things about this process is getting to work with rich colors, so let’s see where things go. Gaudy? Possibly. Ugly? Never. Why not see how far I can push it.

Experience has proven that I have no trouble limiting myself, so I know I’ll be back to some nice, safe and oh so sublime minimal aesthetics before long. Mark my words, but enjoy the ride while it lasts.

Going public in the shop.