I am
interested in making paintings that speak to the physical act of the
hand creating -- not in the sense
of 'gesture', but through intimate care and attentiveness to
detail. I am also excited by the expression of time and movement
that can be found in repetitive, time-intensive traditions such
as folk art, sewing, textiles, music, and the choreography of Pina
Bauch. Through the perception of change and rhythm, the cyclical
nature of patterning possesses an interwoven quality that I can relate
to through routines I carry out in my daily life.
My most recent paintings are inspired by craft and the peculiarities of paper cutouts, a process that involves cutting into folded paper and then unfolding it to reveal patterns that emerge from chance and carry the unique mark of the scissors. I fold and cut pictures from my daily subscription of the New York Times . These cutouts inspire designs which are then transferred and cut out of what I call 'paint skins': layers of acrylic and oil that I paint on glass, peel off, and then cut into. When I pin or hang up the incised 'paint skin', the clipped pieces fall forward or hang freely, revealing hidden color, the thickness of paint, and the support behind the paint. Gravity determines the final outcome. Shadows and reflected color graze the surfaces of the paintings and spill out into the surrounding walls.
I am excited by the potential of material and its transformation through the process of hand-work. My engagement in conceptual and physical spaces provides a structuring framework for my query into the relationship of painting and our experience of the moment.
My most recent paintings are inspired by craft and the peculiarities of paper cutouts, a process that involves cutting into folded paper and then unfolding it to reveal patterns that emerge from chance and carry the unique mark of the scissors. I fold and cut pictures from my daily subscription of the New York Times . These cutouts inspire designs which are then transferred and cut out of what I call 'paint skins': layers of acrylic and oil that I paint on glass, peel off, and then cut into. When I pin or hang up the incised 'paint skin', the clipped pieces fall forward or hang freely, revealing hidden color, the thickness of paint, and the support behind the paint. Gravity determines the final outcome. Shadows and reflected color graze the surfaces of the paintings and spill out into the surrounding walls.
I am excited by the potential of material and its transformation through the process of hand-work. My engagement in conceptual and physical spaces provides a structuring framework for my query into the relationship of painting and our experience of the moment.
