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I make images
about me: my desires, my fears, and my relationships. My subconscious
pulls out an image from an abstract starting point like finding
shapes in clouds and wood grain. Sometimes an image can be very
revealing. I don't censor what emerges, even if it doesn't make
me look good.
My recent
work is done on gessoed hardwood panels, 24" x 32".
I apply glazes of oil color, which are wiped, scraped and scratched.
The paintings stay thin and abstract until an image forms for
me. To stay objective, I turn the painting in all directions and
look at it in the mirror. The first image that I recognize in
the painting is the most genuine. My subjects are the classics:
portraits or figures, landscapes or still-lifes. My approach to
these subjects is personal and unique. I pursue the composition
loosely until the edges of individual shapes become defined. Thin
and thick paint alternate. I stay far away from rules or habits
of paint application. I respond instinctively to the areas of
the work that need change.
Five to seven
paintings are started at once on the wall. As each panel becomes
a more specific image, I hang it by itself and work for several
hours without stopping. Sometimes this goes on for months. I don't
strive for realism. The depth of space in the painting is the
most important element to me. I pay equal attention to volumes
of negative and positive space. A painting is not completed until
it has depth and still maintains its two-dimensional integrity.
Each painting
is crafted with all the techniques I have developed up to that
moment. The image can change drastically several times before
its completion. The truth of a painting always comes as
a surprise to me. When others find a story of their own in my
pictures, I am delighted. I look forward to what comes next in
my own story.
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