Greg is an interdisciplinary artist who has been working since 2009. He received his MFA from Tufts University in conjunction with the School of the Museum of Fine Arts Boston in 2014. Originally from California he works in Boston and the New England area while exhibiting his work around the world.
The following five statements are meant to describe or elicit an understanding of my artistic practice through different communication strategies:
I am an interdisciplinary artist. My interdisciplinary practice revolves around mark making and materials. Mark making presents a mystery to be discovered, decoded, and interpreted. The artwork becomes a nexus point for a series of complex reminders; the work is the beginning of a conversation that reminds the viewer of their past, things they have heard, the limits of materials, and of concepts and ideas contained in each piece. It reminds the viewer of marks they have seen in the past and of marks that have been made on their lives. The work explores the limits of what a marked surface can be.
The studio is a place of exploration and the unexpected. I use a variety of materials in a process that can only be described as tinkering. I make very intuitive decisions in the studio that explore the limitations of materials while seeking a new voice in them. Like the man in Annie Dillard’s essay, I try to teach stones to talk.
Most of my inspiration comes from reading and perhaps misreading texts. Many of my pieces work directly with the books as material and context. A friend and mentor Jesseca Ferguson always says, “A book has a way of finding you.” I combine these books and opinions in the studio to make a work of art. It is hard to predict beforehand where the words will lead me.
Like Kierkegaard, I am interested in the absurdity of faith and faith based actions. In a sense, the power of my artwork to cut through visual noise is the key to its appeal. The work is an exception to this noise as a sight of quiet and a site of purity. There is a stripping away process that sometimes leaves the work abstract or bare but inevitably leaves a skeleton behind. This is where the marks begin to have a context and the faith of the viewer is challenged. The work has an intrinsic touch of religious connotation.
The work is a diminished thing, it points to the thing itself. It is a relic or a fossil, a papery cross section of voices; it’s a relic of the reading, words of the past.
Sermons of sight.
Solitude is their theme, their mood, their means of approach.