Ridderhof Martin Gallery
September 3-October 11, 2015
Opening Reception: September 3, 5-7pm
The cloud “is the juncture of reality and the imaginary…”
This body of work addresses transience, the fleeting interlude of being. It employs the image of cloud as its metaphor. Clouds are natural phenomena, indicators of weather patterns, bodies that float in the curved canopy above us, separating the Earth’s outermost field and the heavens. They are barriers, openings, symbolic bearers of foreboding and hope. Insubstantial, they nonetheless have form. They reflect and absorb light, have mass and volume, and overlap in space as any objects do. Common, ever-present, they come and go. Some are turbulent while others hover unnoticed. All are temporary and eventually fade. They are like our lives.
In his Confessions, Augustine of Hippo reflects on the mystery of time, form and the ineffable. His references to the Psalms in particular convey his thoughts about the short course of life. As in the theme of Ecclesiastes, anything whether splendid or not is impermanent and vanishes. Clouds, mists, smoke, breath and the like all fade away.
Renaissance and Mannerist paintings of split-space above and below, Baroque ceilings with their illusion of the celestial, Abstract Expressionism’s processes, American Luminism’s radiance and Japanese painting’s linearity and atmospheres have their effects on the development of these works.
 Damisch, Hubert, A Theory of/Cloud/Toward a History of Painting (translated by Janet Lloyd), Stanford University Press, Stanford, California, 2002, page 72.