My current body of work is painted on paper. Paper allows for spontaneous revisions and a quick work pace—which frees me to take more risks with the paint. The paint slides around the surface of the paper; encouraging me to work quickly, limit revisions, and explore mark-making. Paper is a versatile surface for experimentation on a large scale and is a receptive surface for different tools such as pigment sticks, transfer paper and pencil. This combination of qualities gives the surface of the paintings a rich character and an “immediacy” to the marks.
I do not work in a series. Instead of being studies of a specific subject, the individual paintings link to each other like a chain. Each painting is one moment in a spontaneous train of thought sparked by specific images, thoughts and questions. The titles are very specific and chosen thoughtfully. They are an important point of entry as the viewer explores the painting.
March 2106-Painter's Notes: I have been obsessively studying the images from Susan Meller's book, Russian Textiles: Printed Cloth for the Bazaars of Central Asia and I am awestruck by the juxtaposition of patterns and colors in the textiles. These images serve as inspirations for my bright palette, as seen in the painting, Sweet Tongued.
April 2017 Painter's Notes: Continued study of patterns and objects including: static, marbles, chainsaw. Influences can also be found in a broad range of research and reading about math, anatomy and jewelry, specifically: Munchhausen and Narcissistic numbers, Jules Galet anatomical drawings, tiaras and the poetry of Sandra Lim.
May 2017 Painter's Notes: Inspirations from a giant, white ruffled sleeve of a Chanel design, a Jade burial suit, excoriation, migraines and The Scivias.