Long before moving to Portland, Oregon from Florida, I was sculpting abstract forms in stone that focused on creating fluid geometric forms and dynamic lines. Later, I began using the technique of multi-modular paper folding to construct abstract forms. Now, I am fully engaged in a different genre – Digital Abstract Painting.
Born in Brooklyn, New York, I later became an art student at Brooklyn College, City University of New York, where I was trained as a painter. I studied with leading artist/instructors (landscape/figure painter-Philip Pearlstein, color field/minimalist painter-Ad Reinhardt, sculptor-Albert Terris) discussing form, dynamic line, composition, color theory and so forth. After moving from New York to Florida, I turned to sculpting in stone because my creative interest was in exploring three-dimensional abstract forms. Then, I continued to explore three-dimensional abstract form by modifying an ancient Asian multi-modular paper folk craft called Zhe Zhi. I received considerable world-wide recognition for my paper sculptures.
After moving from Florida to Portland, my observations of the Northwest region's diverse landscapes, terrains and vistas offered me endless arrays of abstract spatial forms and colors that I wanted to express in some visual format. To do this, I considered returning to traditional painting methods (using brushes, mixing paint, stretching canvas.) Careful examination of this medium revealed several shortcomings that could hinder me in creating a body of work: A major drawback is the inability to edit and change specific elements during the real-time process of creating a painting while maintaining sharp details.
Seeking to avoid the problems associated with traditional painting techniques, my interest in complex geometries and their relationship in analyzing forms led me to examine several digital painting programs. These were designed specifically for photo editing and digital painting. The digital programs that I use for digital painting use different sets of algorithms. These algorithms provide the control of digital tools such as brushes, filters and palettes. Now I can employ specific features from different programs when I create a digital painting. This gives me greater flexibility to draw or restrain lines and arcs, change a composition, and manipulate color, value and intensity until I am satisfied with the end results.
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