In the last three years I have focused on surface as an essential element of my art, experimenting with volume and texture of the material itself. I have made my own paper, combined paper and plaster, worked with collage and simultaneously experimented with imagery, moving back and forth between representation and abstraction.
Handmade paper has become a sculptural material. I can manipulate hills and valleys, craters and crevices, large or small. Paper absorbs and changes the properties of the material I apply to it. At times, imagery grows out of the surface of the handmade paper. When I work with my handmade paper, I am ever fascinated by the textures, colors, absorption qualities and form that it takes. My paper has become a starting point for me. It is the geography in which to work.
I have applied acrylic paints extensively to this geography. Acrylics are absorbed by the handmade paper and often dry with an appearance similar to gouache. Acrylic paintâ€™s quick drying time allows me to build the surface of my paintings with washes as well as impasto layers. I mix much of my paint directly on the surface of the painting from wet pools of paint that I have layered onto the paper. I was pleased to find that through this process I could unearth colors and layers, discovering fortuitous relationships that present themselves like patterns in nature.
I use the qualities of synthetic and natural materials to investigate relationships between the natural world and the built environment. I often work with handmade paper and acrylic paint, but I also incorporate other conventional and unconventional processes and materials. Printmaking and drawing feature in much of my work. I have used silicone, cat tails, foam insulation, and blue jeans to reach the conceptual realization of pieces.
I have focused on retaining the physicality of the surface and finding meaning in my materials while investigating qualities of color, light, place, and experience.