I aim for blunt, direct visual communication. Like many painters, I resist the confines of painting, instinctively subverting painterly artifice: I collage rather than render figures, I use non-traditional materials like tape and landscape fabric to make marks instead of paint, I trim the supports to irregular shapes. Most recently, I have turned paintings into large wall installations that make edges, limits, and composition ambiguous.
I make abstract paintings using acrylics, gouache, tape, photographs, fabric, wax paper, wallpaper, tacks, wood, Yupo, mylar, wood panels and walls. The materials are non-traditional, tactile, and direct. My process is intuitive: I look at and respond to relationships formed between the mark and its surroundings, including the surface of the wall outside the piece's edge. Although my mark making is spontaneous and uncontrolled, I am a relentless editor, carving coherence out of chaos, and revealing moments of formal beauty in unexpected places.
This work began as a response to the tumult of life with small children and a subsequent exploration of systems of family dynamics. However, one aspect of parenting is an increasing awareness of the passage of time. The knowledge that as your children moving into strength and abundance, you are moving away from it. My newest installations and paintings struggle with this ultimate limit. What small gesture can lend grace to the relentless flow of daily, domestic life? What does it mean to build things knowing they will decay? How can you love in the face of loss?