Artist Statement

I am a woman painter and collage artist.

My work to date is building on themes of place & displacement, connection & fragmentation, colored by my experience.

 I was a child of a military family and all the challenges that go along with that life: annual moves, loss of peer groups, lack of true connections, adoption of multiple cultures, discouragement of long term commitments and the most of all the requirement of absolute submission and obedience.  That early life, also lead me to Europe, gave me art, taught me tolerance, and developed an acute requirement for independence, personal strength and resiliency.  My early life is fundamental to the fact that am polarized between having incurable wanderlust and yearning for roots.   My artwork speaks to that narrative; unfolding in waves of both cumulative memory and currents of naked emotion.  My life has always been lived episodically, patched together like the paintings and collages I create. 

  In 2015, I first started to experiment with collage elements because it solved certain problems in my painting practice.  First, it concretized and solidified forms while giving flexibility to interpretation.  Next, it allowed me to actively control the "push-pull" through additive and reductive means, without over-working the surface.  Finally, I found a deep, satisfaction through the physicality of ripping, tearing, slicing, and otherwise defacing papers in pursuit of something interesting.  The action is aggressive, but the feeling is assertive as it searches, explores and problem-solves.  In working this way, I no longer felt hostage to the literal or figurative "flatness" of the work.  The messy chaos suited me perfectly. 

 Fundamentally, I use collage as a vehicle to solve basic understanding of how I see and perceive art.  Consciousness of both the expressive quality of paint, and how drips act as linear elements bring me to see corrugated cardboard as another linear representative.   I conclude that there are myriad ways to develop a visual relationship between the material and the inferred lines laid. I see in this convention,  an epitomized, abstracted genre, both expressive and utilitarian in form.  Diagonal cloud systems, vertical forests, and horizontal seas and fields reveal themselves through the manipulation of simplistic material and intentional color.  The materials provide me intelligent simplicity. 

 The true challenge in using corrugated material is in its scale. Most cardboard yields small lines, thus creating intimate settings.  In order to scale corrugation for more sizable works, I have to change my use and intention of the material from use as a linear reference to a more visceral (and obvious) textural one.  Conceivably, developing a larger scale in this form would necessitate a change of material such as fiberglass or aluminum sheets- fulfilling a monumental, size that would challenge the conversation between sculpture, bas relief and 2-D works.  Regardless of materials used, my pursuit of the work is fundamentally in service to the exploration to how I perceive line in context.  As the work reflects my interest in that pursuit, I look forward to the exploration and additional advances to that end.