Wall hangings

Man-made divisions of structural lines, plowed farm fields, streets, fences, frameworks of buildings in progress, are rigid and straight when compared to Nature's linear expressions: the skeleton, the silhouettes of mountains, trees, rivers. These vignettes are most obvious when viewed from the height of a plane in flight or framed by the open grid of a fence or window.\ud I am attracted by both types of linear events, especially when one interacts with the other and acts as a foil for it. In my final statement, I have imposed mechanical divisions in order to violate their rigidity. Furthermore, the materials were chosen to express the relationship of these two worlds. The blending of flat planes, sculptural forms and open areas had their origin in two-dimensional silver and oil media paintings. In these paintings, I chose to investigate the problem of integrating shiny and dull surfaces. Reflections of the silver painted areas are constantly changing according to the direction and variation of light intensity. This led me to the next step, that of constructing three-dimensional stuffed canvas forms in order to further test the interplay of painted and real shadows. I further simplified the previously investigated concept by separating the reflective qualities, substituting transparent plastic for the shiny, silver painted areas. In the interest of clarity, lines were represented as separate, independent, solid forms, as drawings in space. In addition, I have imposed a mechanical order to the intuitive order, each one acting as a separate rhythm. In nature, too, we encounter such evenly spaced rhythms as day and night, ebb and flow, summer and winter. But in thinking about these phenomena, we find those repetitions are less rigid than artificial structures. Man is always striving for the finite, constructing boundaries. Repetition gives security because it assists in establishing limits. Repetition is predictable. Repetition is dependable. However, a monotonous rhythm becomes imprisonment and the need arises to interrupt this continuum. This is demonstrated in the open line and open grid pieces by the restlessness of the lines striving to close the space and vice versa. In the canvas pieces, the painting consists of overlapping, washing out, staining, splashing, dripping, and creasing. Thus the canvas experiences the alterations upon it. Another dimension is added by the impingement of the plastic for framing the various events. As a person is the integrative total of his multiple experiences, conversely, the multiple impositions on the canvas or linear constructions result in one total integrative transformation