2006: Joan Mitchell Painting Award

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In November of 2006 I got some exciting and amazing news when I found out I had been awarded a Joan Mitchell Foundation Painters and Sculptors Grant. The Painters and Sculptors Grant Program was established to acknowledge painters and sculptors creating work of exceptional quality through unrestricted career support. This is a highly competitive and prestigious, once in a life-time national award that comes with a $25,000 prize.


This is the largest painting only-specific arts award in the nation and to be selected, one must first be nominated by one of the 80 secret nominators (who can only recommends one painter and one sculptor annually for the award). Both the secret nominators and jury panel consist of prominent curators, artists and art educators from across the country. Out of the 160 artists nominated from the entire pool of artist working in the country, only up to 25 are selected for the award. This is truly a significant award to receive and I am very honored to have gotten it.

Joan Mitchell awardees include art-world luminaries such as: Frances Barth, Glenn Ligon, Mel Chin, Fred Tomaselli, Shahzia Sikander, Allison Saar, Janie Antoni, Amy Sillman, Polly Apfelbaum, Do-Ho Suk, Shinique Smith, Tim Hawkinson, Kara Walker, Mark Bradford, Julie Mehretu, Wangenchi Mutu, Nick Cave, Sue Williams, Mickalene Thomas, and Peter Saul to name a few…Excellent company for sure.


“MacDowell Pines” (NH) 48″ x 36″

JOAN MITCHELL FOUNDATION (2006 Painter’s Award Winner) artist page link:


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2006: MacDowell Colony Residency

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“Birch Melt” (NH), 36″ x 48″, 2006

Founded in 1896 by the composer Edward MacDowell and his wife, the pianist Marian MacDowell, the MacDowell Colony is one of the oldest and most distinguished and prestigious artists residency programs in the nation. It is nested in 450 acres of wooded lands on the outskirts of Peterborough New Hampshire. The mission of The MacDowell Colony is to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination. The sole criterion for acceptance to The MacDowell Colony is artistic excellence. Fellows in the fields of Architecture, Composition, Film, Interdisciplinary Artists, Theatre Artists, Visual Artists and Writers are chosen by a selection committee comprised of leaders in their respective fields from a very large pool of international applications.

I had been wanting to return to the North East during the fall season since my visit to Vermont in September of 1996 when I was a Visiting Artist Fellow at the Vermont Studio Center so I was thrilled to be able to get a fall residency at MacDowell from Mid-Sept to Mid-Oct. The grounds of the colony are covered with maple, birch, and beech trees and they were in full glory during my visit. The display of high intensity yellows, oranges, reds and the full range of greens allowed me to explore and use pigments and colors in my on-site works like never before. I had stocked up on my cadmiums before I went but had to buy more while I was there!

My time there was beyond great and I was able to create 20 mostly mid-sized works that were true intense perceptual experiences. I was humbled and honored to find out that I was selected as a Milton and Sally Avery Fellow. This is an annual honor given to two MacDowell residents of “outstanding ability in the area of painting”.


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“Cadmium Carnival (NH)” 2006, 48″ x 36″, private collection Dallas


DEATIL of “Cadmium carnival”, top middle section

2006: Thick Brush Painting Installation

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MAC install view from left side wall (each painting is 48″ H)

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This was my first large-scale painting installation and it consisted of 19 independently created on-site paintings arranged in a non-contiguous way, closely to one another so that formal relationships from one painting flowed into the next. I like to show my individually conceived paintings as large installations of closely hung, formally connected works that create a sense of compelling overwhelmingness in the viewer….an experience that more closely parallels that of actually being in the woods; constantly focusing in and out  of space over time. The dense grouping caused the viewer to not be able to see each work as an individual painting (or image/view) thus purposely undermining some of the representational solidity of the works and bringing their formal qualities (the abstract nature of painting with the materiality of the paint and the painting process) to the forefront of this perceptual experience.

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“Fluttery” (WA) 48″ x 36″

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DETAIL of bottom left side of “Fluttery”

All of the paintings in this show were created over my three summers of working on-site in the foothills Cascades Mountains of Washington State. Below is a pdf of a full artist’s statement about the works in this show.


2006: More Mysterious Clarity(s)


Two new versions of A Mysterious Clarity were exhibited in 2006. One was Gaddis Geeslin Gallery at San Houston State University in Huntsville, Texas and the other was at the Wynwood Art Complex during the Miami Beach Art Basel week.