The seeds of “Ghosts” were planted years ago, while visiting an archeological museum at the University of Pennsylvania. I was looking at some ancient artifacts behind glass when narcissus like, I observed my own rapt face, reflected in stark chiaroscuro on the glass. In this profound moment I hovered between the present modern and the ancient past. I reflected on the fact that one cannot hold the focus on both of these planes simultaneously, but must continually make a choice. The paintings in “Ghosts” seek to reconcile this focal problem, holding in their compositional framework a synthesis of revered objects with the figure viewing the objects. The observational process employs the technique of the “Pepper’s Ghost” illusion from turn of the century stagecraft, wherein a sheet of polished glass is interposed between the performer and spectator.
Fundamentally, the series seeks to hold the story behind us, represented by the objects, with the story that is unfolding before us, represented by the reflection in the glass. The imagery seeks to reconcile the concept of without and within. Combining the image of the exalted object with the image of our own bodies, rapidly and inevitably moving toward the past. These images are Memento Mori, or reminders of the brevity of life.
Ghosts made it's debut at Galerie Fledermaus, Chicago in October 2014, the body of work is ongoing.