Thoughts become words – words have meanings that define thought; a brushstroke is a thought. It takes countless brushstrokes to make an image that can potentially be read like a word. I am forever dancing with the invisible, trying to entice it into manifesting into my/our world. Thoughts and words can be guides for how the invisible is to enter into our dimension of time and space. The words of T. S. Eliot's poem, "The Four Quartets" set the stage for my hand and mind to
The origins for the glass sculptures started as drawings in 1997, though, at that time, I wasn't aware of it. I was making drawings of the shapes that were formed in the space around the ribbon-esques images I was painting. The idea of turning a negative space or shape into a three dimensional object was in line with making the invisible visible, which is
Lindsay, California is a fairly remote town in Tulare County, California, fully 5,566 miles from St. Petersburg, Russia, one of the world's great art capitals. Those two disparate locations - the former rural and relatively upstart compared with St. Petersburg's long and storied past urbanity and art historical significance - couldn't be more absurdly juxtaposed.
So what line possibly connects them? Currently, That would be the one drawn by artist Shane Guffogg, a Lindsay native and
After conversing with Guffogg, he explained to me that the De Amore series, was inspired by Ficino’s own “De Amore”, an account Ficino witnessed in the 14th century in accord to Plato’s "Symposium on Love". The Renaissance era was at the height of this existence, when love for God moved to a more spiritual quest of, 'love for light” and
Metaphysics: a science that studies the essence of things, and not their real nature. “… it goes beyond the contingent elements of the sensible experience … according to a universal perspective. Metaphysics focuses its attention on what it considers eternal, stable, necessary, absolute, seeking to capture the fundamental structures of being” (from Wikipedia)
Guffogg’s research in painting and the arts has always explored the essence of
I am a painter. This encompasses many things. Painting is a physical activity, which is, in reality, just the act of smearing paint on a canvas. Simple, direct, tactile. At times I like to trick myself into thinking it really is that simple. But every moment of my existence -- past, present and future -- feeds into the “smearing of paint.” I saw my first Rembrandt and Leonardo da Vinci in the flesh when I was in my late teens. Their work, their
“A crossing is an intersection, an information system, a cage, containment, a choice, a denial, a structure, a maze, an overpass, a forest, a movement between worlds.” 2002
Beginning in 2001, I would start each day by entering my studio in downtown Los Angeles after driving from Hollywood and walk around the room, saying everything that was on my mind out loud until I didn’t have anything else to say. Then I would lay out a piece of paper, sometimes
Sight and the idea of seeing, both the physical world and the terrene that is sensed, but just beyond reach, is a recurring theme in my work. The referencing of poetry for my titles is an inroad to that invisible landscape and – when I really stop and think about it – my way of giving an audience a looking glass to see through.
When I Consider How My Light is Spent is the title of a poem by