My paintings draw heavily from environment, taking shape as process-based and heavily layered combinations of painting, printmaking and collage. The work is influenced by architecture and nature, and pulls from digital and printed media and photography. With a background in weaving and beading, my sensibility leans towards abstraction with ornamental elements and textural surfaces.

Using hand-cut stencils and drawings from life, I blend repeated patterns with abstract and gestural painting. The deeply layered works are created over the course of months, evolving from a base of canvas or wood grain and simple collage into complex and dynamic compositions. The paintings often evoke organic forms such as trees and blossoms and convey the feeling of natural events like a rainfall, blowing winds or moving waters. At the same time, structured and measured elements reference the artificial and suggest objects, architecture and technologies; complex patterning mimics the appearance of fabric, textiles and screens.

In this newest group of paintings made in my Santa Fe studio, I’m spending much of my time thinking about dualities; I’m exploring the ideas of expressionistic, immediate and urgent vs. meticulous, examined and processed (or digitized). I find it interesting to think about creating objects by hand that could be easily made by a machine, or engaging in methods that mimic machinery and technology. I’m also looking at past American painters—most Abstract Expressionists—whose works resound through time and are important to my practice: Robert Motherwell, Helen Frankenthaler, Robert Rauschenberg and Joan Mitchell, as well as Frank Stella and Agnes Martin.

This work subtly parallels my experiences as a human moving through contemporary existence, specifically
in a digitized, technologically driven environment. When I select a gestural moment of mark-making and then painstakingly document and reproduce it, I see it much like taking a snapshot and then spending significantly more time editing, filtering, and sharing than in the original, live experience. Noticing this tendency isn’t a criticism of social media or technology but rather the recognition of a shift and a separation between the physical world and the version I see through screens and filters; interestingly, it’s a separation much like painting.

May 2017

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