A gesture creates a line; a line creates space. The intention behind a gesture is reflected in the line, giving it identity and introducing drama to the space. If the gesture is directed by emotion, and if all elements remain abstract, any interpretation of meaning must be intuitive. My abstract paintings are explorations of this very simple principle.  They are an investigation of identity, drama and subsequent meaning created by non-representational gestural line.

"Dark Secrets I and II" present four and three different groupings of gestural lines created with pen and brush. The energy driving the gestures in both cases is aggressive. The lines are abrupt, sharp, crude, and erratic. They are clustered into four and three groupings respectively, which offers the possibility of separate identities, ideas or circumstances existing together in a common space. The weak colours and minuscule red accents are cut and hacked by the surrounding lines as they float in a space of high contrasts dominated by deep black. The stage is set, and the characters are introduced. The intentional lack of specific representation allows for personal reference, speculation and interpretation by each viewer that is guided, but not specified.

"A Family Portrait" similarly presents a clustering of gestures. This time there are three groupings; but the intension behind each gesture is more refined and graceful. Each gesture here has been inspired by my intent to describe the character of each of my three children. One is separated on the right by her disposition as impulsive, unpredictable and headstrong. She is a gem that sparkles and spins and is difficult to hold. One is graced with a great purity of heart; she is well grounded, calm, organized, and blossoming into adulthood. The third is acutely insightful and creative, but very sensitive and shy, preferring to remain on the periphery.

Although the specific intentions that inspired my gestures for "A Family Portrait" are interesting, it is not necessary to know these details in order to intuit a gathering of three graceful and dynamic entities, circumstances, or instances.

Interestingly, the juxtaposition of value and colour in this painting is not too dissimilar to that of "Dark Secrets I and II". It is the contrasting character of the gestural energy that inspires diverging interpretations.

The gestures for "The Concert", "Freedman" and "Ravel" are directed by musical influences. These paintings have been developed from small sketches done at concerts, or while listening to CD's. The intention is to allow the music to influence the movement of a pencil on a piece of paper; to respond intuitively to the various melodies and layers, and to combine and overlap them in a way that relates to the gestures and mood of the music. My intention is to initiate reflection into a musical reverie that is not literal or specific to any one passage, but that recreates the experience of a musical space.

My plans to move forward from here are to continue. I intend to maintain the fresh and direct energy seen in "Dark Secrets I and II" as I pursue this series with oil on canvas. Most of my work to date has relied heavily on gestural line, and has been done with ink or pastel on paper. This has been due to the limitations of time and space inherent in the life of a single parent raising three children while teaching High School, learning web design while producing and showing art. As my children approach independence, available time becomes more predictable and possible. It is a challenging and exciting adventure.

With each and every painting I hope to convey an insight, to awaken associations, or to nurture positive energy of the sort that makes life meaningful.