painting, drawing and abstraction as markers of a space outside of the verbal
and within the visible, my work examines slow and sensate exchanges between
perception, matter, and psychology that develop in peripheral spaces over time.
Searching for meaning in the minor and the overlooked, my practice works on
dislocating hierarchical terms of the sublime to focus on the links between
perception and emotion as they unfold in unspoken events of cognitive
illumination. Each piece is developed slowly through stages of meditative
procedures, abrupt change, and actions of chance, working towards creating a
compressed expanse of time that echoes the intense shifts in which we
"see", both inwardly and outwardly. The works open a gradually
revealing field for optical intensities, luminous intervals, individual
discoveries, and opportunities for slowness.
My approach to art making is informed by painting's older history as a devotional practice of imbuing the surface with intention and also Minimalism's consideration of the perceptual body while experiencing an artwork. It is important for me to create a space of exchange between the material object of the painting or drawing and the viewer. When the works are viewed from different distances, they move between familiar structures, reticent abstract form, intense optical networks, and an intimate sense of materiality, creating visual fields that seek specific resonance while resisting closure.
The paintings are created through numerous layers and erasures of oil painting, sanding, staining and cutting into a plaster-like ground. As I work on each piece over several months, the absorption of meditative time, illumination, and change become inscribed in the lifespan of the work. The particular nature of the fresco like surface suggests a historic gravity as religious and epic subjects are replaced with an elevation of the minor experiences that are the subject of each piece.
.................While slowly developing the paintings over extended periods of time, I work on distinct but overlapping drawing projects that connect to these works. These consist of the notebook drawings, works on paper, remainders, and traces.
The notebook drawings are made directly with colored pencil in drawing books then torn out and joined with linen tape. Reductive in form, these drawings follow shifts in perception through time and the sensations of seeing, feeling and thinking in the periphery of lived spaces and the body. The combination of restrained forms and the ripped central “fold” bring attention to a fragility of the image and a reference to what was once closed. I use these drawings as “notes”, gathering them in different groupings to help order stages within the paintings.
The mixed media works on paper expand
upon the fields and delineations within the paintings, reflecting a
similar process as they are painted, marked, sanded, picked, erased, layered,
carved, cut, worked on top of each other, as well as from both sides. These
works are created slowly, almost blindly, while incorporating the index of
time, marks, and residual atmosphere formed beneath and between the peripheral
activities of making and daily studio life.