The paintings and sculptures are my real biography.
Graduate and post graduate studies and accompanying tickets.
A few exhibitions here and there from time to time over the years.
Good at sharpening knives.
Not really 'influenced' by anyone, everything in the world is an 'influence'. I think that we are as 'influenced' by the things that are found to be repellent as much as by the things that are found to be attractive.
Finding affinities with others is nice, usually calming and invigorating, simultaneously.
If the things that I have made are interesting to you, then you might also like the works of the following people on the little sample list below.
Marshall McLuhan, Martin Ramirez, Italo Calvino, Georges Perec, Bill Bruford, Ad Reinhardt, Tristan Tzara, Franz Kafka, Jean Arp, Sophie Taeuber, and (sorry folks) the dreaded Ludwig Wittgenstein. Also should include the earlier works of Juan Miro (Vines and Olive Trees etc). Almost forgot Nassim Taleb.
There are other lists for other times and other thought worlds...
I prefer to consider my works as unified thoughts.
I make each work in order to have a thing that stands alone; the viewer is not encouraged to seek extraneous information outside what is given in the work itself. It is, in my opinion, mostly a distraction to know, or want to know, say, how the painting came about, the scratchy notebooks and cumbersome or easy path that led to the finished works. Well of course we all want to know this when we find something appealing, but this yearning to 'want more than what is given' is not about the universal aspect of the work.
This yearning would be, in the case of my works, only a distraction from the painting itself. To consider the painting in this way is to (almost literally) look away. This 'way' of thinking is more a part of the style of the individual and it is not really helpful for certain ways of understanding, and in particular in the way that I regard the paintings that I am required to claim as created by me.
One of the ways that I feel the paintings are successful is in the sense that personality is absent, the veil of personality has been removed, leaving only a clarified example of the universal condition of perceiving and thinking. (Personalised 'marks' are absent, for example flat paint surface without visible brushstrokes, font is plain and as generic as possible, etc.) From this position, which I prefer, and extending it to the works of others, I don't really feel the need to know much about the life and times of Martin Ramirez or Jean Paul Sartre. Sartre himself felt a need to mask his wartime activities in the cloak of a hero, but he is most vitally met and known, his most important ideas intimately shared with you from the experience of your actual reading of say his little novel, Nausea. Similarly, Martin Ramirez lived the life that he would want to share with you in his meticulous rhythmically patterned landscapes.
The luminous essence is the work itself - the work is the gift, and in the work is where the unity of the artist and viewer is found. The work is the destination, if you are at the destination don't keep talking about the car and the motels you stayed in on the way. I didn't even want to have to say that, and between you and me its just a little joke, but it may also be a plea to those who, with blind insistence, keep scratching away until they have dug a hole for themselves ...