I create my work with the intention of developing a very specific aesthetic that represents a universal beauty found in life. It is meant to capture a combined balance of simplicity and complexity that’s often found in nature as well as certain cultures who, over time have embraced this philosophy. The Japanese call it Shibui or Shibusa, and although there is no exact definition, it refers to an ageless beauty of sorts that one never tires of because it’s constantly changing. For example, Japanese pottery that embodies a beautiful asymmetrical shape and surface. Or a weathered stone. A sunset. Virtually everything calming in nature that surrounds us. It’s what makes things perfectly imperfect. And this type of aesthetic is not something you are taught, it’s something one has to live to fully understand what it is to create it.
“Shibui, a registration or 'felt sense' of evolving perfection. What is being registered is the 'Life' behind the qualities of any experience. A 'felt sense' of qualities, such as quiet beauty with intelligence, love, light, and joy. These qualities can be more easily registered when quietly viewing simple, natural, everyday phenomenon or objects, such as a sunrise or a simple piece of pottery.”
In my 30-year art career, I started in ceramics where I began this journey. And after making several thousand works in clay I began to understand this balance. Then when I transitioned to painting full time, my goal was to carry over this knowledge and aesthetic in hopes to create unique two-dimensional works of art. However, having to explore new mediums, and develop new processes, has been years of development and experimenting. It is also is very different being on the wall instead of a three-dimensional object. Now, after much time and energy, I feel as though I’m in a good space with a clear focus. No doubt it is constantly evolving but many of my recent works reflect exactly what I’m after.
I will write another blog about some aspects of my process but one very important one is that I intentionally incorporate the elements of mystery and chance. I also look at it as a collaboration between myself and the materials. Because one thing I’ve learned over time is letting go, after putting in so much work, and allowing chance to happen, can create the most beautiful and unpredictable results. Results that embrace this natural balance could never be achieved with total control. And, it can also destroy or completely change it all as well. So this risky and sensitive part of the process is an important part of it all. Instead this time, rather than using fire, it’s more a combination of my unique techniques, I’m actually part of all the energies at work to shape and create this beautiful balance within my paintings. I have to be in control and let go at the same time.
It’s simple and complex.
