The Impact Of Line
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Line work is one of the earliest forms of expression. With a simple fire charred stick early humans drew on cave walls to
communicate ideas about their experiences and existence. These early marks bear astonishing skill and communicate the
mysteries of their world in the same way that our line work references emotions and generates ideas about our world. Using
various drawing tools ranging from charcoal to felt tip markers we control the characteristics of our lines to reference set
ideas and create a particular feeling or state of mind.
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Within our compositions lines are often elevated to the level of symbols much like the expressive brushwork of Chinese
writing and calligraphy. Sometimes shapes are even perceived as lines and become symbolic personas. This is evident in
many of the Lyrical compositions.
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Many Planar compositions contain lines formed from oil crayons that have taken on the character of the substrate for a
rough spontaneous application. Some possess directional movement that converge at a point to form a ray like fan shape
similar to light beams. They provide the viewer with a sense of time and velocity that expresses ideas about science and
geometry.
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Lines can act as a directional map guiding the audiences viewing movement in and out of complex spatial fields. This is
evident in the Atomic Boomerang pieces where complex lines refer to ideas about science, computer technology and the
inorganic systems we use for dispersing information. In these works line also refers to organic systems, human mental
processes like neural networks plus the emotional and spiritual pathways humans pursue.

Spatial Elements
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Spatial relationships and the emotional feelings that emerge when territorial boundaries between field and form are
defined is another challenging theme present in our artwork. The point where an area of color evolves into form and
becomes an object is a continuing area of concern. The interplay of positive and negative color fields create spatial windows
that shift and vacillate in tenuous environs. Confronting the audience with infinite and ever changing possibilities for visual
space creates compositions that challenge the viewer’s own perceptual abilities. Within these works spaces, forms and
objects fuse to present intellectual and emotional experiences.

Symbolic Elements In Our Art
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Often our response to shapes is purely emotional and defies categorization. However there is a point at which an abstract
geometric element like a circle crosses over into the realm of a recognizable symbol such as a celestial orb. This process
remains mystifying to us and we use this transformational capacity as a powerful element for communicating our ideas. With
symbolism we can assign distinct personas and symbolic meaning to objects relating to the natural and man made world.
Symbols vie for viewer attention and tumult across many of our artistic creations. Spilling into and connecting color fields in
paintings, drawings, prints and other works they possess cognitive references to many universal aspects about our world
and the way we communicate with others. They are a pervasive aspect of past and present artworks.
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Many signature shapes took on iconic stature and evolved with early artwork during the seventies to express our ideas
about humanity, science and spirituality. These symbols are based on nature, geometry and man-made objects. They take
the form of boomerangs, barbells, atomic elements, stair-steps, horseshoes, spirals, crosses, stars, shields and other
unique objects. Using them like the Egyptian’s used hieroglyphics, we have assigned meaning and developed a visual
language for discussing our interests and concerns.
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These symbols are based on our emotional, cultural and social definitions and are elevated to iconographic importance.
They dominate many of our artworks and define the intent and personalities of these paintings, drawings, collages and
sculptures. Using symbols in this manner and communicating ideas about spiritual, emotional and concrete reality places
these artworks in a realm where abstract expressionism fuses with symbolism. We refer to this style as Fusion as it
combines the forces of both visual platforms.

Geometric References In Our Work

Geometric references, shapes, volumes and patterns are explored within these spatial compositions. The interplay of two
dimensional objects juxtaposed with volumetric shapes lets us uncover interesting spatial relationships. Directing the effects
of color, shape, form and pattern within a set ground provides variables for discussing spatial depth and optical illusion.

Understanding concepts about volumetric form, shape, depth and space is an acquired ability from our body's physical
movement within a three dimensional environment. Initially infants perceive a flattened world full of contrasting shapes,
values and color. They eventually discern the difference between objects and space with movement. Concepts about depth,
foreground and background emerge with each new experience. We find orchestrating basic artistic variables lets us create
unusual visual worlds. These artworks ask the viewer to enter and read the movement through each composition so that they
too can experience a unique optical and emotional journey.