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Letting the work evolve like an organism has led to intriguing art I have never seen before, which is one of my main goals. Swirling figures, inspired by a strong background in gesture drawing, transformed over time into abstract rhythms, and the drama of figuration was gradually replaced by an investigation into the framework within which all human drama occurs: the curvature of spacetime itself. This has led to an extended study of a new type of perspective based on the idea that reality is composed of infinite curvature. This manifests as a perspectival matrix that employs an overlapping series of curved perspective schemes. Cultural evidence of a curved reality range far and wide from Hawking’s donut-shaped Universe, to Shakespeare’s “mortal coil.”
Cityscapes are a useful subject with which to explicate the properties of this type of “Overlapping Curved Perspective.” This investigation has also led to sculptural permutations of gestural abstraction and architectonic motionscapes. I have not abandoned figuration, and continue to let that imagery evolve- I learned that the collision of opposites can also result in new and unexpected artistic permutations, so when the seeds of abstraction matured I brought figuration back in, with some satisfying results.