Richard Eagan

The process of making art is not, for me, arbitrarily called "work." I spent much of my professional life in a woodworking shop, and it was in this setting that I was visited by a series of dreams that changed the nature of my work--a dozen or so dreams in the course of a year. These dreams of my grandfather and the journeys we took to Coney Island my childhood playground, whispered that many secrets lay beneath the surface of the fantastic buildings I saw at the edge of the sea, as well as within myself.

My woodworking shop became a studio, and I became the artist who worked there. Much of the resulting work is constructed painting--portraits of the places from my past I knew were gone or disappearing. In these few years, my work has begun to open up the walls and push through facades to investigate what lies beneath the surface.

The recent bursting forth of my female alter-ego, "Kay Sera"--the irrepressible performer and troublemaker--has changed the shape of the work yet again, resulting in a series of aluminum and shattered-wood wall pieces that refer to explosion, emergence and inevitability. In all, whether in paint, canvas, found objects or wood and metal, the work serves as a series of self-revelations expressed in the language of a fantastic architecture.

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