Early Work; Photography
Early Work; Painting
Early Work; Panoramic Painting
As an art student I became increasingly dissatisfied with the traditional institutions of art dissemination. Museums and galleries seemed to entomb the culture that they claimed to support. The market driven oligarchy of high culture could not risk capital expenditure on living forms of art. It seemed apparent that contemporary high culture was destined to become yet another victim of late industrial consumerism, just another commodity fetish to be bought and sold for the highest price.
As I looked for models by which to shape my own cultural response to life in the wane of the twentieth century, I became increasingly drawn to the Native American pictograph and petroglyph sites of North America.
I began to question the way that this work differed from the work that I was seeing in the museums and galleries. Apart from the speculations of meaning and intent the rock art was fundamentally site specific and public and undoubtedly it was directly relevant to everyday life.
In the mid 80's I studied the visual arts at the University of California, San Diego, where I first began developing my sense of politics. I studied under Fred Lonidier, Allan Kaprow, Helen and Newton Harrison, Faith Ringgold, David and Eleanor Antin, Italo Scanga and others.
San Diego was going through a feverish bout of strip mall, suburban development at the time and my outrage grew with the ongoing loss of San Diego open space. I felt that the only honest thing to do as an artist was to use my work in service of my environmental concern.
After completing my undergraduate work I moved to Colorado to pursue an MFA at the University of Colorado, Boulder where I studied primarily with Barbara Jo Revelle and Alex Sweetman. If the environment was to become the subject of my work as an artist one issue rose far and above all others in Boulder, Rocky Flats.