I have always been fascinated by the power of the buildings. Personally, at odds with a sense of spatial direction, my sensitivity to the immediate impact of any given space is extreme. The way a building embraces or threatens someone is remarkable to me. At the same time, my ambivalence to an ordered universe and gravity is prevalent in my depiction of structure. Architectural elements threaten, fall and float. Shadows become more alive than the entities that cast them.
Often my point of departure for a work is a collage. Ripping apart images from Architectural Digest, I piece together a visual roadmap of a particular memory or experience I’ve had. From there, I refine the composition in painting, discarding and editing the parts that don’t resonate with me.
Much like the intense relationship Lygia Clark of the Neo-Concrete movement had with the report or lack of, between our natural selves and manufactured dwellings, a sense of overwhelming wonder at a life lived within walls permeates my work.
More often than not, the viewer is the only person in these spaces. The appearance of the figure as in the series “Hapless Creatures” is used to convey their palatable alienation with their environment. These solitary beings are alone, functioning like monuments on a horizon. In the series “Bodies in Motion” the body becomes the original structure that our souls inhabit, the symbol for our connection to the physical world.
I would like my paintings to touch on the viewer’s own experience and memories of living with the stairs, rooms, hallways that make up the background of our lives. Giving thought to how the places we live in and around become a part of us, our histories and psyches.