Pure Lavender, 2021. High flow acrylic and ink. 30 × 22 in.Surge, 2021. Charcoal, acrylic, and ink. 22 × 30 in.
Up. Down. Sideways. Across. Around. My eyes dart from object to object, taking in the environments and atmospheres I explore. I immerse myselfin environments filled with architecture. I connect the lit windows in buildings, the dots of grainy cement, or the lines on a shaggy rug that become translated into my linework and mark-making. The lines, angles, and unnoticeable patterns stimulate a field of energy of colors and marks that are stored in my brain. I take these energy fields and put them onto paper for others to experience. I utilize a repetitive mixture of rigid and fluid lines in order to create a space for viewers to feel like they are being engulfed by the compositions.
Line after line, splotch after splotch, this repetitive motion and pattern generates a composition translating the way in which I visualize these abstracted spaces internally. The use of layers in my work enables me to create a visual distortion and illusion, which I employ as a tactic to draw my viewers in close. At some points I am in control over my lines, and at others I allow myself to introduce the aspect of chance into my work, giving it a sense of play. Guided by anything from paintbrushes to embroidery floss to gravity, the motion of my shoulders and the paint create lines I see in my head over and over again. My lines also communicate with the music that fills my studio space and become a factor in the speed of my mark-making and even the colors I choose to paint with. My body and painting tools are in sync to create the energy fields that fill my brain when exploring my memory of places. Dribble, scratch, splash.
Line after line, splotch after splotch, this repetitive motion and pattern generates a composition translating the way in which I visualize these abstracted spaces internally. The use of layers in my work enables me to create a visual distortion and illusion, which I employ as a tactic to draw my viewers in close. At some points I am in control over my lines, and at others I allow myself to introduce the aspect of chance into my work, giving it a sense of play. Guided by anything from paintbrushes to embroidery floss to gravity, the motion of my shoulders and the paint create lines I see in my head over and over again. My lines also communicate with the music that fills my studio space and become a factor in the speed of my mark-making and even the colors I choose to paint with. My body and painting tools are in sync to create the energy fields that fill my brain when exploring my memory of places. Dribble, scratch, splash.