I was an architect for over 20 years, when in 2005, a progressive spine disease left me disabled and unable to continue practicing. I had practiced in those years on a wide range of projects culminating ironically (as my future as an artist was untold) with the Frost Art Museum at Florida International University in Miami. This marked an end and a rebirth, when on a self-taught journey of discovery, I began to use the computer to make art as therapy to help me cope with pain and depression.

Prior to my disability, as an architect practicing a visual art form separate from the sphere of the other visual arts, my artistic abilities were always in service to the making of buildings. Now I found myself creating art on a computer program as if the works of art had been inside me all along, waiting for the day the technology would come around to realize them. Thinking back, I remember being exposed to modern art as a child, and during my college years I studied both architecture and art history. While at Pratt Institute, I also took a course on Islamic art, which began to open me to cultural aesthetics beyond what was familiar in my Western existence. I think these experiences have been invaluable as I have grown as an artist.

I have come to embrace digital technology to create large format works that would be too physically demanding for me to paint.  In my new work, I am printing on rigid substrates, acrylic and aluminum and being rigid allows me to cut them on a cnc router, letting the geometry escape the confines of the square and rectangular formats on canvas or paper.

An outgrowth from my architecture, the tenants I learned about making buildings; structure, composition and the grid, to name some, are relevant to making art as well and they are my guiding principles. Putting shapes together in new ways is the part of the process that taps me into my architectural brain mode. But these things need the binder that makes it all work; COLOR, which I weave through optically energetic geometric constructs, syncopating it with its accompanying geometric forms. The ability to cut out the shape further energizes, freeing the geometry to reveal its edges, a proxy for me to escape as well.

Each artwork I make is a joyous visual song representing a little piece of me that has been freed.

2 Replies to “Statement”

  1. I began at Pratt Institute School of Architecture in 1967. I see here that you admired Hanford Yang. I remember him, but only a little. I would like to correspond with you about him please. I have been writing my autobiography.

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