I use the term minimalism for a lack of better term. My preferred term would be reductive painting. A bare boned formal approach to image making.
A formally reductive sensibility has always been at the core of my art making. Growing up and being schooled in southern California made its mark on me as well.
The particular types of minimal art that emerged there, Hard Edge and California Light and Space were the main influences on my aesthetic. My earliest paintings were influenced by the “Hard Edge” school of L.A. artists, as my first painting teachers at L.A. Valley College were June Harwood and Fidel Daneli. June fired up the reductive modernist in me and Fidel engaged me with conceptual art ideas and processes. Another influence on my art was film, particularly narrative film and the way stories were told in the cinema. I spent my early adult years working in film & television.
Through these two influences I was exposed to the modernist ideas that became so important to my development as a painter. From that beginning I moved on to the University of California at Santa Barbara to study studio art where artists as diverse as Howard Fenton, Howard Warshaw, Doug Edge, Richard Ross, and Richard Dunlap reinforced this pared down aesthetic.
In graduate school at UC Irvine I studied with Tony Delap, John Paul Jones and Craig Kaufmann. The influence of each of these artists further cemented the reductive aspect in my work. Graduate school was a heady time for me. Some of my classmates were Kim Abeles, Jan Derek Taylor, Russ Crotty, Frank Dixon, and Mike McGee. We were a highly productive group and the creative atmosphere at that time was intense.
Most of the artwork shown here comes from my years just out of Grad school.