current work
I began the Disrupted Weather paintings with grungy, atmospheric grounds made from charcoal, lithographic ink, metallic paint, enamel, and acrylic medium. I wanted surfaces that looked worked, dirty, reflective, and slightly unstable. I interfered with those grounds using high-key color. I applied paint with my hands, threw paint-soaked marbles against the canvas, and looked for ways to make marks without composing them too carefully.
DISRUPTED WEATHER
With the following series, I stopped working within the binaries that had long structured my thinking about painting: realism and abstraction, surface and depth, form and field. Painting became a way to think through what I was seeing, a sustained meditation on the instability of appearances and the relationship between material fact and visual sensation. The paintings do not describe that experience; they are where it takes place.
