Jeffrey’s Process

“In my mind, I imagine a universe (like the cosmic universe) where only lines exist. They are in constant motion with all possible patterns and combinations of straight and curved lines occurring. Equally but in a different “dimension”, is a universe of color in constant motion with all colors and color combinations occurring. My paintings capture a single moment when these two universes meet and interact. If each of these universes existed inside its own balloon, imagine pressing the balloons together. The result is a flat plane with elements of both systems on the surface of that plane. That is one of my paintings.

I always begin by dividing the panel up with lines without any consideration of a color palette. I often develop a specific plan, a set of rules or a formula that will govern the placement of lines and shapes on the surface. For example, I may decide that all curved lines in this particular work will come from the same size arc without variation. I do this, deliberately limiting my visual freedom, to add unity or wholeness and to draw focus to a specific idea. Sometimes I’m interested in the beauty of mathematical precision. Other times, I fabricate a custom-shaped template and trace the entire form or parts of the form over and over. These shapes are then further delineated with smaller shapes, usually parallel lines. Each ‘cell’ is then masked with tape and coated in 4 to 7 layers of paint.

When it’s time to add color, my first decision is what emotional realm do I wish to convey. Most often, I begin with a single hue that has been part of a previous work. I have hundreds of small samples from colors I’ve mixed (see photo to the right). I take that initial hue and begin playing mixing and combining until I find the beginnings of a visual conversation. From there I branch out adding analogous or contrasting hues. I often deliberately create combinations that feel new or unique. There is no such thing as two colors that don’t go together. Some combinations are harmonious, others are simply something else. Once I begin applying them to the piece, I often add to or subtract from the chosen group as the painting comes to life. In the end, any given piece has 10 to 40 or so distinct hues.”