Embracing the hidden or lost, I aim to find hope and discovery through making artwork.
In Venice, the notion of suspense, in finding my way, became a part of everyday life. Hours spent walking though the unfamiliar became adventure and opportunities to learn. Travel and movement are woven into my artwork, like the migration of a penguin or monarch butterfly.
I like to carefully cut one line sharp as a razor. Next, make some fast-drawn lines that touch or deflect from each other. A flash of opposite color, and a transition to a subtle color change. A series of forms and veils compose vibrational fields.
I contrast fast and slow art. Mixing a color, throwing down a texture, making a monotype, then repeating shapes for hours. Collage inspires the freedom and potential for change, like the medium of print.
Color is feeling and theme. Green is the color of vegetation, which represents life and growth. Blue: I have always lived near an ocean. Blue is balance—both sadness and calm. A clear blue sky is one open for opportunity.
I curate the unexpected, random, spontaneous aspects with the deliberate, the historical, and applications of what I have learned in art school.
By learning or making something, a person is changed. My art takes time and patience, and it is intended to bring joy and interest.
Top left: Nightfall on the Ocean, 18 x16 inches,acrylic painting with stamp and brush digitally altered Bottom, left: Scratching the Surface, 10 x 7.5 inches, monotype with chine-collé
Art inherently tracks time, it documents the progression of a personal life while acting as a small example of a larger framework. By seeking a structure of personal time-keeping through art-making, my efforts become fleeting while time continually moves forward. Patterns of decision making continue, actions progress and devolve, and objects or people that once may have provided purpose become unsteady. I engage with this self-evolving, creative cycle as a mode of reflection, a mirror to the reality with which I can question the systems and even the body I inhabit.
As a printmaker, my mind and my practice move serially. I work with printmaking partially as a means to satiate my repetitive, anxious compulsions that often keep me on alert. The benefit of my process-oriented practice is to harness the pseudo-obsessive quality of printmaking that allows my personal experiences with mental health to be embedded within the labor of the work. Although my work is largely abstracted, it is all innately personal to my reality based on the details of an emotion, memory, or experience that surrounded each piece at the time it was made. I combine my personal experience through titles, imagery, and greater visual mechanisms such as color, light, and, texture in order to intensify the mundane, and reflect upon the reality I confront.
While my work utilizes elements of the grid, it does not strive for the inherent perfection of this fabricated unit. What the grid offers me is a community of separate cells that all individually work together to create a whole, a sense of completeness, and ultimately a sense of self. Using the synthetic structure of the grid as well as other devices such as the printing press and the loom, I aim to speak to the greater man-made structures of time and progress to reflect my own experience with self and societally imposed systems.
Top left: Shadowed Self, Monotype, 40” x 52,” Unique print/ Bottom left: Nest In Isolation, Aluminum plate lithography and mezzotint. Image Size: 3” x 6,” Paper Size: 7” x 9,” Edition of 5