I guess that in one sense I am a discipline of Dali. One published critique described my work as being “punctuated by spiritual symbolism and transcendental themes which, paired with his rigorous artistic approach, blurs the line between the real and the surreal” Salvador used the imagery of the real to create his world of the surreal. He forced the observer to go beyond form, color, and structure and consider the underlying meaning of each creation. Similarly, I try to get the viewer to dig below the surface of the composition and try to understand what it is trying to say. It invariably says something. Clearly my works classified as “Allegorical” speak loudly if not distinctly of a transcendental meaning, be it philosophical, social, moral, or just plain commentary. My paintings categorized under the “World is my Studio” tend to be more subtle in their message but if they are examined close enough one will find one. What it is will always be open to interpretation. That’s the fun of it.
In terms of technique I am always exploring ways to render an idea in innovative and challenging ways. For example, I often incorporate semi-transparent imagery into a painting to express an idea, dream, or vision. In others, such as “Where Have All the Flowers Gone” or “Solace” I structurally interlink multiple canvases to tell a story or isolate an emotion. One of my paintings, “Gringa in Todas Santas” is essentially a painted base relief sculpture on canvas. Another, “Survival of the Fittest” is a combination of two structurally interconnected canvases without a straight edge anywhere. I now have in my head a concept (and have completed a number of preparatory drawings) for a new innovative painting that will blur the boundaries between the real and the surreal as well as between a 2 dimensional painting and a 3 dimensional sculpture. You can follow the development of this painting under my blog titled “Ruminations”.