Small studies of monochrome blues.
By allowing the white light of negative space to dissolve the forms into composition, the sense of space can be ethereal, airy, and soft. Even though I use an extremely simple palette, the ideas and spaces are complex and deep. You might think of the ocean, cloud formations, the earth and celestial bodies.
Some of my paintings resemble flowers. The paintings included in this collection are made using a combination of watercolor, inks, oil and wax on a wood panel using many thin layers upon layers of floating pigments. The effect in person is unlike anything else you may have ever seen. I am exploring these naturally fluid forms and the light they respond to as they appear in both reality and in distant memory, making a record of time in between life and death or perhaps, the past and present. Flowers make the perfect subject matter because of their physical fragility, relationship to daylight and their limited lifespan.
I question our existence and relationship to the universe and how we might transcend space and time to connect. These paintings visually express a feeling of weightlessness and movement, similar also to the creative space one might enter while making art or running for long periods of time. They deal with issues of pain, but have a certain disconnect like the experience of being uprooted, weightless or out-of-body. Lots of or little color, puddles, smoke, blood and tentacle-like branches or veins weaving throughout tiny spaces that read as infinitely large, even celestial. I respond to tree imagery because trees are so grounded and human-like in shape, but still reach for the sky and dance through space and survive in all the various elements – tenacious and fragile. Trees are the perfect creation for earth and also for making paintings because they lend themselves so well to abstraction.
Using water as metaphor for journey, the paintings in this body of work are made by building up puddles of floating pigment. I wanted to construct three-dimensional, yet soft spaces to move through, touch, or brush away like smoke. Inspired by the death of a close friend, my father’s stroke and the oil spill in the Gulf, I began exploring the passage of time from this world to the next and what that experience might look and feel like.
A number of the works I do resemble the earth and her elements: fire, cloud formations, the cosmos, topography and the vastness of the ocean, for example. I try to always be conscious of my environment and my physical and emotional response to existing within such beauty and sometimes, devastation. I look at how this global awareness influences the art as I am creating it, so that one becomes a natural extension of the other, symbiotically. Here's a simple example. Celestial events interest me. I like to make paintings on a full moon, drawing from the energy, the light and the hugeness of it's presence. I allow that experience to feed into the colors, shapes and consistency of the paint or medium I'm using.
Silver is something new, both a new element and material. Metal has always been a fascination and has added an entirely new dimension to this particular body of work. More topographical in nature than most of the other paintings, these seem to communicate on a higher level, more out of body and further out in distant space looking down at the earth, or into a deep ocean, for example. They reflect light on their own which gives them a separate lifelike quality.