The fluid, inconsistent space of memory influenced by time, ongoing changes to man-made environments and human communication forms the foundation of content for my paintings and works on paper. My work is most informed by personal observations of human-driven changes like the ongoing remaking of public and personal spaces. The subject of my curiosity is the residual by-products of human activity seen in the remnants of old buildings at construction sites, random once-cherished belongings found on the street entangled with other detritus, public spaces changed through continual use and anonymous but public mark-making, like graffiti (and the resulting patterns left by the erasure (buffing) of graffiti). There is always evidence of a story of some kind to be found in these dislocated fragments of human life. By merging aspects of my lived experience, observations of changes occurring around me and imagined scenarios, I make non-objective work that reflects broad experiences of life and memory.
My works emphasize multi-layered systems, color (chromatic and gray scale) and process. In my paintings, overlapping forms and fractured spaces alternately support, negate and influence each other, mirroring events in everyday life. Shifts in formal relationships between layers, marks, color, and space, subtle and overt, contribute to the overall visual narrative in my work. My paintings and works on paper feature open and opaque layers that incorporate various modes of mark making including: direct painting, drawing, image transfers, stenciling and collage. My process relies on a sense of interdependence and chance happenings, which allows for multiple meanings in my work that can be explored by the viewer.
”Presence” is comprised of new and recent paintings that consist of repeated, hard-edged linear gestures used to form multiple skeins of colors, each acting as a stage for successive layers, leading to an autonomous image that is the result of repeated accretion and deletion of marks. This autonomy is played out in the resulting architectonic forms having a commanding, object-like presence in the paintings, while not conforming to a specific nameable object or place. My new paintings share common interests with the looser gestural mark making of previous works, only now the images are largely confined to the interior boundaries of the painting surfaces, whereas earlier works featured curvilinear gestures of color that appeared to escape from the edges of their surfaces.
The paintings in “Presence” examine common themes that influence us on a daily basis. Physical and sensory relationships and experiences with our immediate surroundings, other people, and within our selves inform and provide starting points for the processes and imagery of this work. Outside influences such as graphic design, pattern systems, and music contribute to my on-going studio practice, as well. Once a direction takes hold, I build up my works in layers by painting, scraping, sanding, and repainting, along with utilizing varying degrees of color intensity, transparency, and opaqueness with paints and mediums to make and modify images.
Drawing-based painting gestures, repetition of marks and color all play a significant role in my paintings. They are tools that guide me in creating works that offer an opening into a unique world of visual perception. At the same time, by using painting as a means to question my experiences in the world, by extension, offer the viewer a means of exploring their own relationship(s) with and perceptions of the world around them.