My lineage goes from Rothko, Pollock, and deKooning, as well as Giacometti and Gottleib, to my teacher Alan Fenton. There isn't that much to say for anyone who knows and appreciates these artists. If not, this statement might be useful.
My current period of work is abstract. This art can be considered to be a form of lyrical abstraction.
Don't look for reference to specific imagery, as I myself seek to avoid that.
This art is about direct expression. Of course, as art, it utilizes a cultural language, so it is useful for the viewer to become aware of the exponents of this language to appreciate its nuances.
Primarily, I seek a direct mirroring of the experience of the human psyche. We have a head, body mass, proprioception, awareness of ourselves in outer and inner spaces, etc. This is a vertical expression with horizontally positioned, centered, mobile and fixed regions, as well as locales radiating outwards, that we feel intuitively. The balance of these sensations modulate moment by moment. The lyrical abstractionist seeks to create art in formats that reflect these sensations. The sensations stimulate action during the painting event, as well as respond to the processes of creating, in turn evoking further expression. This all happens fairly quickly. If this process is successful, due to similarities in our makeup, the art has the potential to evoke similar states in the viewer.
The fall from grace of this form of art is illustration, wherein we simulate the appearance of a feeling without authentically living it.
All this talk of sensation aside, the successful art is very impersonal, as we move aside the particularities of specific views, and seek the root or ground of being itself, expressed in movements such as a burst, a thrust, something falling; in other words, any natural form of nature, emotion, shape, or mood. This is my subject, but it is more than a subject, it is both the action of generating the art, and the outcome.