"My
work incorporates disparate elements that can be, at first, confusing.I
begin with visual effects, contrasts in color and form, and the
rhythm and patterns created by shapes. Then I might contrast
this with the linear horizon of an almost infinite landscape.
Finally, close-up the assemblage appears monumental, almost surreal,
like a Magritte or a Dali. But my intent is not to be humorous
or clever, in the same way as these artists, but to offer a sort
of meditation on forms and colors removed from their literal
associations.
These paintings
challenge the still life genre altogether. But many categories
of art are loose, incorporating landscapes, figures and objects.
In this work, I am influenced both by Guiseppe Arcimboldo and
late 19th century symbolism. Here, I intend to evoke another
world. Yet the objects are specific, allowing the viewer to focus
on the particular. In this contrast between the real and the
imagined, the familiar and the strange, one can linger in ways
that are impossible with the fleeting nature of dreams.
My work is becoming
more personal. I am still attracted to beautiful, simple things:
a single figure, natural objects such as fruits and flowers displayed
in small groupings, and quiet landscapes, usually at dusk or
dawn. Yet I am more involved in the present, a world that seems
disjointed with virtual cultures, bits and bytes of information,
mixing everywhere. My mind swirls with images of old masters
and contemporary art, classical and pop cultures. All of this
brings an atemporal element to my art. The difference is that
I still want to fix it in traditional media. It is the best way
for me to both commune with the past and run with the adrenaline-fueled
future.
I am noticing
two recent trends. Both, I think, mark a partial return to contemporary
figuration.
In the trenches, there are artists who are studying for years,
learning to paint the most introspective detail. Their canvases
are as refined as any past master, and the subjects are very
realistic. However, I believe that how something is made affects
how the object is viewed. A painting entirely made by hand offers
an unmitigated and honest communication between the artist and
viewer. One suddenly becomes a part of the creation of the work,
appreciates the artists commitment, her ability to sustain
an idea.
For me, this is poetry, and I think that there is a rising connoisseurship
for the bespoke object.
I do not think
any one of us can imagine exactly what a truly global, competitive
art world will look like. Where the more gentle works such as
still lives will fit in will be interesting. Hopefully, chaos
will always be balanced by order and people will seek some respite
from the sensational and the distractive."
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