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My paintings, drawings and installations deal with the solidarity of imagined space, depth of forms in a two dimensional frame and the ways in which planes of line and color denote forms. I am interested in human interactions in spaces and behavioral ramifications for cultural mythologies of public and private actions within spaces. The spaces I am interested in now incorporate elements of 14th century Italian architectural paintings, pop culture colors that ooze vanity and apocalyptic fear, and a balance between tangled forms and rigid stripes. A stretching of a perception of depth and the use of grey-tone colors coincide with flat primary colored shapes in mix I intend to be jarring and quizzical.
Human beings living in and through structures become structures living in and through human beings.
-Robert Irwin
My landspaces are created through a process of sight drawn, memory drawn, and imaginary places where superimposed colorations construct a world of mythology in which UFOs, apocalyptic skies, and the Mothman are held liable for environmental troubles and tribulations caused by human negligence. The landscape of human culture is permeated with mythologies, and through the necessity of myths we create structures, places, and spaces. We layer meaning over landscapes socially, as I am layering paint into graphite surfaces of landscape drawings. The ephemeral pencil lines on the mylar, easily smudged or erased, mimic the evolution and reduction of American landscapes, eroded by time, elements, and humanity. The layers of paint, however, are fixed, just as environments carry cultural meaning long after the land itself is erased.
We can keep from a child all knowledge of earlier myths, but we cannot take from him the need for mythology.
-Carl Jung
I am using diverse materials: plexiglass, mylar, paper, industrial house paint, spray paint, oils, nail polish, graphite, permanent markers, linen, text, and chalk to create works in various sizes. The long rectangular shape of recent works is influenced by Chinese paintings, and is reminiscent of the long scrolls that are to be viewed section by section, narrative readings of the landscape. Text is included numerous peices, and the bolder and lighter fonts of the lines of my poetry fall into strokes that mimic the reoccurring stripes I used as a thematic element in my work. Stripes contain incredible speed, a quality which peaks my interest in illusion. My work is informed by gender theory, social constructionism, abnormal psychology, postmodernity, environmentalism, and feminism, which all interact to create a basis of theory. Theory increases the vitality of my work, and I attempt to stay actively immersed in thinking, writing, and analyzing popular culture. I am interested in the vanity of trendy colors, and the aesthetics of music videos. Music and public personas have influenced even my color choice, as I constantly strive to find a connective place within the culture of the now.
When we drop fear, we can draw nearer to people, we can draw nearer to the earth, we can draw nearer to all the heavenly creatures that surround us.
-Bell Hooks |
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