The works contained in these various series are the results of over a decade of work. They are the product of God-given talents, artistic training, endless practice, and plenty of patience; all the while poking here and there, working on them when the inspiration struck, and I could find the time. Too often I let the business of life and my mental state interfere and slow down the process, but when the urge came I would find the time to create another one, and over time, an image here and there became multiple series of artworks. Though there are multiple works in each, they are by no means complete and I will continue to expand on them as time and muse allow. The pieces comprise five distinct series. Those being Who I Want to Be When I Grow Up, Pawns, Tall Tales, Visions, and my “Stained Glass” paintings. These series capture my thoughts on the world and society, memories of my childhood, and visions given by inspiration when reading or meditating on the Bible. Sometimes the imageries will pop into my head whole and their meaning to me is quite clear. These are the easiest to create, requiring only the technical aspects of how to transfer them from a mental image to a physical object. Others come with the vaguest of notions that I want to convey, or just a partial picture of something that I think would be interesting to make, and I must think on it and turn it over and around in my mind to discover what it is I am trying to say. These latter take more effort, but it is an enjoyable effort.

Some of the images are quite simple, having little to do in the way of detail, while others are complex and busier. Each has their own meaning, and very little is superfluous to the works other than occasional marks added to make the image more interesting or dynamic. But even then, the meaning and intention of the piece is added to and enhanced. Some of the works may seem simple and straightforward, and that is enough to gain an understanding of their purpose. They all, however, are intended to be considered and pondered beyond the initial, and I hope I have provided enough cues to draw out those deeper musings.

While it is true these images all have meanings, of no less importance to these pieces, is the process of their creation. This process is intended to be visible and apparent in the finished work. They are meant to look like they have been made. This can be seen in the layers of polyurethane, graphite, and enamel, and the inclusions of cut paper, wood, cloth, and other items, and in the layers of acrylic paint laid over the top of each other. The methods, means, and marks of their creation can be seen. They are not disguised. The effect of this is that the work becomes an object in itself, to be viewed as much for its material effect as for its conceptual meaning. They are a representation of something, true, but not a direct representation. On a certain level, they are intended to be enjoyable simply as interesting objects.

In addition to the transparency of the materials, there is the variety of the mark making. Here also the process is key. There are places in each image where it is detailed and controlled, and places where it is freer and more energetic. Some marks appear deliberate and calculated, while others appear random and spontaneous. These are all layered on top of each other, with inclusions occurring at various points, so that also some inference of the time involved can be ascertained. All of these things add to the revelation of the process of the image.

In the end, I hope that being able to see these design elements adds as much to the enjoyment of the images as their conceptual statements do. They are designed to be viewed each way, as curious objects or as disseminators of meaning, or as both together.