My paintings and drawings incorporate forms found in architecture, design, popular culture, and art history. My reductive compositions and pure color mimic the low-tech graphics utilized in mid-century media and allude to the color field painters of the same period. I utilize tape to mask out shapes and create hardedge stenciled forms. The process acknowledges early screen printing techniques as well as cubism and collage.
My recent multicolored paintings and drawings are made with saturated color stained on to linen and with gouache on handmade paper. They are constructed of hand drawn shapes that lay flat and abut at the edges. The curves and irregularities of the edges accentuate the space between, reading as both line and structure. Shapes and colors are rendered intuitively, with one choice informing the next, always mindful of the interplay of negative and positive space.
When applying oil paint to linen I try to retain and accentuate the inherent physical properties of both materials, the weave and tooth of the linen, the pure saturated color of the paint. This direct tactile approach celebrates the detail in the forms, the beauty of singular color and the power in simplicity.
My recent multicolored paintings and drawings are made with saturated color stained on to linen and with gouache on handmade paper. They are constructed of hand drawn shapes that lay flat and abut at the edges. The curves and irregularities of the edges accentuate the space between, reading as both line and structure. Shapes and colors are rendered intuitively, with one choice informing the next, always mindful of the interplay of negative and positive space.
When applying oil paint to linen I try to retain and accentuate the inherent physical properties of both materials, the weave and tooth of the linen, the pure saturated color of the paint. This direct tactile approach celebrates the detail in the forms, the beauty of singular color and the power in simplicity.
