I make abstract paintings that are influenced by the division between mimesis and poesies. I apply layers of thin acrylic paint to create a sense of atmospheric depth. There is sometimes a sense of objectness living within these colorful spaces. These forms are invented through the painterly process of discovery, but also relate to my history as a dancer and my interest in the subtleties of movement that are closer to the everydayness of body language than a full staged production. I am drawn to where bodies twitch and vibrate, where they decide to remain heavy or viscous. I compose contradicting forms over forms where in the place of negative space is a dusty Jell-O like containing space for a half-event performed by a trapped boneless being.
My newer works on paper were catalyzed by my need for longer pauses as opposed to those that exist during my usual painting practice. I cut and tear forms out of paintings I made on both found and new paper. The time spent identifying features within the paintings, such as but not limited to, shifts in tonal values, visual or tactile anchors, and form-like gestures is a pensive time -- a time liberated from doing or acting. These pauses between movements set the pace for both my process and the resulting object. The tearing action is a kind of violence, but it is only performed once I feel the wholeness of the materials.