Currently, my research shimmers between the boundaries of painting and sculpture. I am exploring the application of pigment on translucent and opaque surfaces, allowing the infrastructure to integrate within the image. These investigations can lead to sculptural objects, but also, engage with the history of abstraction by creating within the restraints of the stretcher and the rectangle. When the piece exceeds these constraints, an association is made with forms familiar to fabric and the body.
I paint through a variety of both traditional and non-traditional methods: by brush, marbling, or by pouring and drying pigment into skins. Discarded paint is found and recycled then altered and applied. At times paint skins are rolled up, taking on the form of tongues or flowers. The artwork takes an investigational approach to new materials, manipulating them to gain a better understanding of their limitations. As a process-driven artist, I view my artistic practice as scientific experimentation.
I explore the ideologies of an image by deconstructing its properties. Ideas of pigment, surface, and stretcher are considered and repurposed. Color is taken from the industrial world and emphasizes the tactile quality of paint. This texture is cold and mechanic but stimulates the tastefulness of the color. For example, when blue, especially paired with pink is used it promotes sugary products and is associated with sweetness. The paint comes from the everyday such as places like hardware stores and advertisements.
This form of experimentation and results creates a sustainable and insatiable momentum to my studio practice. I discover unknown elements through layering, both concealing and revealing information. Throughout my work, there is a visual tension of control. This is the battle of self-opposition, a balance between the precision of painting with intention and the unexpected outcomes of a process-based approach.
A dialogue between the controlled aspects of painting and the unexpected outcomes of process-based methods give the artwork a visual tension of control, such as the battle of self-opposition.
The process of ink marbling has provided me with hours of endless experimentation. The use of layering and distortion comments on the complexity of the self and the mind. A dialogue between panting and the unexpected outcomes of marbling give the work a mind of its own, such as the battle of self-opposition being fought within the psyche.
These paintings are an investigation into inner human nature. By studying psychology, my art allows me to express this understanding. My knowledge, beliefs, and experiences with each subject inform how I illustrate the internal self. The persona I reveal cannot be seen by the naked eye.
Through studying how color relates to personality, these portraits are an exploration of identity. While studying psychology, I have been fascinated by personality development along with the psychology of color. Color is used to define the piece, along with revealing the work’s personality and conflicts within. The use of colors on each is a short visual summary of prominent characteristics.