My paper on linen works arise organically from changes in the paper as it interacts with various paints. The complexity of the imagery is guided by the character of the materials. I’m not confined to an easel, but often paint on the floor around the painting. The beginning of the process is very physical, as I move around the painting applying large strokes of color, then add layer upon layer. The process becomes ever more detailed, revealing textures. When in this process all elements connect, the painting is complete. I work with a variety of tools, from very large brushes and rollers to tiny brushes and palette knives for precision.
The dream-like abstractions are a visual journey through landscapes of multiple perspectives, where the eye of the viewer is slipping between the specific and the illusory. The organic forms turn into atmospheric elements, into illusive images of forgotten experiences, familiar, yet unnamed. It’s not my intention for accidental figures and symbols to be read literally. The individual’s recognition of forms is part of the process of looking at and into the pieces for their meaning.