Statement
Currency from all over the world has fascinated me for fifteen years.
So I paint money because I am an artist.
I deconstruct international icons and political systems of barter.
I re-create them in my aesthetic form.
That’s how I connect with different cultures
I immerse myself in a country while I paint it.
I reinterpret it.
It becomes my neo-pointillist art currency.
My largest oil and acrylic paintings are 4 feet by five feet. My diptychs, or double paintings, are five feet by eight feet. I envision both growing larger. Some of the work is as small as eight inches by ten inches: growing smaller at the same time. These smaller works can be randomly connected as put-together puzzle pieces. Some new work has become an experiment of exploded art pieces, broken canvas, metal, and material.
The labor-intensive dabs of pixilated dots I use refocus the currency for me. I see it out of its familiar context. The fragmented dynamic reintegrates the image on a fresh patterned plane.
My marks, to me, become atoms of color energy magnified through the prism of my universe.
The body of my work is a personal reaction to the global marketplace.
The future of coin and currency is an open question.
World economies collide and collapse.
Money changes.
It moves.
It grows.
It shrinks.
Money changes hands.
Economies grow into new unions.
They break apart.
Currency becomes a merger.
It becomes a weapon.
Sometimes both.
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