Each of my series risks an experimental approach to painting. I explore both the substrate: rice paper, silk, canvas, wood, plastics, mirrors -- and the tools: inks, stains, paint, charcoal, wire, string, and even machine parts. Ranging from abstract to figurative, and from painting to assemblage, the works all play with the veil between seen and unseen, questioning what is real while commenting on our current time.
My 2017 series “Sight” interprets human vision using layers of transparencies to create surfaces that reflect viewers back upon themselves in a way that can be challenging. These new works hint at illusions while engaging the inescapable realities of our time.
In 2016, I did a series titled “Rhythms” that intertwines newspaper headlines with EKG rhythms of heartbeats. I asked, “What’s happening in the world that makes the heart clench?” I thought about the fear and hostility in our current political and social landscapes, as well as what makes the heart release. This series extends beyond heartbeats to waves of sound that make similar rhythms, as do phases of nature. From heartbeats to sound waves, our lives are measured in pulses of energy. We sense universal tempos in the timing of our days.
My 2014 series, “The Long Thread,” contrasts silk with the rougher textures of string, twine and rope. Life and death emerged as themes as those pieces evolved beyond paintings into large textile wall hangings.
Other series offer insights into images of women and a spiritual dimension to place and time. Overall I intend my work to move beyond external reference and materials to a philosophical sense that suggests transcendence.