Group 1 Group 2 “A thousand grasses” was sparked by my interest in making drawings working with an unfamiliar process and materials–- the lines are drawn with twigs dipped in ink. Working with ink gradually evolved into mixed media drawings. My dissatisfaction with the initial lines on each drawing led me to cover them with […]
The oil on paper paintings of “Unseen Voices” mark the introduction of meandering lines into a field of color. With their suggestions of the natural world, these paintings are intended to evoke the familiar while embracing otherworldly spaces.
Unlike earlier drawing series that focused primarily on line, the drawings of “Trace” incorporate a loose network of gestural marks. Each drawing begins with the meditative process of building the field with charcoal, followed by a rapid sequence of mark-making in white pastel.
“Unseen Voices” brings line and color into abstracted spaces that reference nature. My intention is to create a complex and active visual experience that feels both familiar and otherworldly.
The drawing series, And all is always now, expands my vocabulary of mark-making with the addition of more pronounced visual punctuation. The gestural stops are loosely connected by faint charcoal lines, and set in motion across the field.
2020 was a year marked by a particularly intense preoccupation with drawing, leading to a rapid evolution of the work. The graphite and oil pastel drawings of Uncharted Reticulations emerged from that exploration. Although networks of lines have been present in my drawings for quite some time, the graphite field overlaid with vermillion oil pastel […]
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“There is only the dance” (2019) is a suite of charcoal drawings that manifested a significant shift in my mark-making. Unlike earlier series, the gestures are more staccato and discontinuous. The drawings were executed rapidly and then put aside with any further adjustments. While the gestures appear to reference forms in nature, these drawings are […]
The drawings of “Pavane” (2017) are rooted in intertwined connections to classical music and modern dance. Leisurely movements prompted by recollections of music were transformed into the pair of conté crayon lines that move slowly through each drawing. Once drawn, the lines were merged into the field by gently rubbing them into the charcoal.
The small charcoal and conté crayon drawings of “Traveling the line” (2016) were an exploration of how a line might interact with the edge of a field.
Drift Quartet, installation of 4, oil on paper paintings, each 17 x 17 inches on 22 x 22 inches Verdant Suite, 6 individual oil on paper paintings, each 17 x 17 inches on 22 x 22 inches At times, a body of work will emerge when I immerse myself in a particular palette. “Drift Quartet” […]
The oil on paper paintings of “Where I find myself” (2021) are a reflection of my embrace of the transitory nature of all experiences. With abstracted references to nature and a formal structure, each painting captures momentary sensations of light anchored by a band of color.
The oil on paper paintings of “Behind Closed Eyes” (2018-2019) marked a shift to a brighter and more saturated palette. These abstract paintings echo imaginary atmospheric sensations created by particles of light. Geometric elements along the edges of the paintings serve to anchor the vibrant palette of an imagined cosmos.
The oil on paper paintings of “At the still point” (2017) show the visual interplay of luminous atmosphere set against the rigor of geometric elements. Thin veils of muted color were brushed and dragged across the surface, layer after layer, building the indeterminate space.
The multi-panel oil paintings of “Where I find myself” (2020-ongoing) reflect my embrace of the transitory nature of all experiences. Abstracted references to nature are placed within a formal structure, giving me the freedom to seemingly fix in place that which is impermanent. Shifting experiences of light and color are arrayed side by side and presented […]
“Behind Closed Eyes” (2018-2019) emerged alongside my search for quiet in an increasingly tumultuous world. These paintings echo changing atmospheric sensations created by the movement of particles of light. Geometric elements along the edges of the paintings serve to anchor the vibrant palette of an imagined cosmos
The charcoal drawings of “Tracing Stillness” (2015) are breath made manifest through gesture. The series continued my process of making marks through erasure (see “Tangle”), but with an emphasis on restraint, rather than complexity. Dense layers of charcoal were rubbed into museum board, creating a dark field. With no intention beyond limiting the drawing to […]
The paintings of “At the still point” (2015-2016) reflect the visual interplay of luminous atmosphere with fragments of geometry. The surface of each painting was built with multiple thin layers of oil paint that were brushed, dragged and then sanded, revealing glimpses of what lies beneath.
The Broadway paintings are a visual response to the rhythmic energy of jazz expressed within the structure of geometric abstraction. The first group of paintings in the series offered shifting patchworks of loosely structured color. The compositions subsequently evolved into more orderly rectilinear arrangements in which areas of activity are set against fields of quiet.
Blacks and Whites marked an extended period of working with a reduced palette and pared back composition. The paintings on paper of this series feature a complex surface built by alternately brushing on and dragging thin paint layers, followed by coarsely sanding areas to reveal underlayers.