My work is involved with noticing the subtle, and an ongoing questioning of what is and isn't essential. Seeking elemental solutions, I've reduced my "palette" to very simple forms, and an economy of materials. Beginning with formal concerns, the work is developed thru curiosity about process. The result is contemplative, often experienced as a quiet shift in our thought process, like watching the ocean or sky.
In each series , formal concerns (ex. color, composition, line), have been singled out for close investigation.
These “Chroma” painting reflect a fascination with light that has been with me always- how it spills into a room, the edges, the slow, subtle changes as time advances, its magical presence. The light in these paintings come from layers of color, progressing to darks, allowing an internal illumination.
Following a reductive path, these Flux paintings are primarily concerned with composition, expressed in a range of dots, single or accumulated. The wet on wet process creates the kinetic, pulsating effect.
Polychromes are my color indulgences, where I delight in the simple joy and extravagance of pure color. The weight of color is the primary focus.
With gouache and watercolor, minimal compositions of opaque lines over transparent grounds are constructed, then dissolved to varying degrees. This creates a visual and metaphoric contradiction, a play on solid or not.
My experience of having a studio at the Marin Headlands is most apparent in the Videre series; they are my attempt to reflect the expanse of the place. They strike a balance between heavy (opaque) and light (transparent); the opaque bands weight is a counter balance and activator to the color field.
The Materia series (graphite drawings on paper) represent a further step in the reductive path I've been on. There's a directness and simplicity in using only graphite I find very satisfying. Unknown, but familiar, these kinetic, photograph - like images allow the invisible to become visible
Wanting to work with something very ordinary, the white on white of the rice pieces evolved. The process involved the close inspection of each grain, revealing an extraordinary world of individuality.
I see these lines as three dimensional drawings, drawings that change in perception as one shifts position. Some created the illusion of volume, as with a “drawn” accentuated line. Tensions between straight and curved lines are explored in others. There is an implication that the lines exist beyond the wall, which challenge notions of solidity. They are formed through a collaboration with the materials, each having their own properties, and making their own demands.
The Chocolate Eating Project has evolved over several Headlands Center for the Arts Open Houses. The wrappers left from the Hershey’s Kisses became a chain, now over 50 ft. long, and over 300 artifacts.
DECONSTRUCTED LINE Series