The home and other private spaces set the stage for repetitive actions. The closer I look at these routines, the more obscure they become. As a painter, I aim to capture an instability within the marks themselves and to the motion of the figure—a state of between. Digesting my intimate world, I am also breaking down repeated behaviors; looking closer at domestic spaces; playing with both my attachment and detachment to what surrounds me.
I paint patterns to better understand them, yet the closer I look the more they disintegrate into marks of color. Undressing is the same everyday, but when I obsess over the actions in this ritual, the image becomes unfamiliar as the body is contorted, shifting and shimmying. Suddenly what was so automatic becomes claustrophobic, what is ordinary is awkward, desperate, violent, and ridiculous.
My paintings play between full disclosure of the figurative presence, and a shrouding of the human, in exchange for the implied presence of the person. In addition to painting patterns of behavior, I paint textile patterns that function as backdrops to the repetitive action-- such as: my shower curtain, my bed spread, the lace I wear on my body. These pieces hold a tension between a desperate grasp to understand my world and a growing uncertainty.
Painting from life has led to a more complex and engaged experience, as well as increased abstraction; little moments of color and shape build up to create a vibrating final experience. I also work from drawings, memory, and photographs. The process of painting becomes part of the final image, as layers of decisions are revealed between firm and final moments. I am interested in an active looking experience for the viewer that mirrors the painting experience, where there is no place to rest. A constant search dominates the spectator and artist, finding solidity, then losing it again-- playing between seeing the image and seeing the paint.