It is not just what we see but what we do not see that adds and builds and creates the texture and fabric and depth and wholeness of a life.
My work explores, through abstract painting, time as defined by a life lived. It is a process of adding, inscribing, scraping paint, creating marks that, once made, remain in some part throughout the life of the painting. These marks are symbols of moments of a life that, once experienced, build the texture of that life – whether deeply enough incised to have a conscious awareness or scraped over, blending into the subconscious memory.
It is an intuitive process, an interaction between composition and the application and excavation of color, the building of layers upon layers of composition and color. The remainders of what is left behind building the texture of what is becoming.
There is no narrative. Any conscious attempt at narrative disrupts intuition and the process comes to a halt. I cannot know where I am going when I start but must trust myself to get to the end. The painting is lifeless until all of a sudden it is not. I remain in tension until released.
Artists who have inspired me include: Joan Mitchell, Susan Rothenberg, Jules Orlitsky, Mark Rothko, Gerhard Richter, Anslem Kiefer, Vera Klemment, Cesare Lucchini, Richard Diebenkorn, Jackson Pollock.
Rothenberg: “One of the necessary paradoxes of Abstract Expressionist painting, and much of the best painting that has followed it, is that for all the rhetoric about the sublime and the intellectual, as well as the spiritual quality of the “field,” it is the physical and immediate quality of paint that is most evident.”
Michael Auping on Rothenberg: “...maintained that her images grow out of the medium, that they are an elemental reaction between her nervous system and her unconscious. She deliberately cultivates an atmosphere of ‘accidents waiting to happen.’”
Judith Bernstock on Mitchell: “Her works evolve organically, each stroke applied in response to the developments that she has initiated on the canvas. Accuracy results not from a preconceived plan of the completed painting but from continual observation of the relationships emerging on the picture plane.”