Using deliberately slow subtractive and accumulative processes, my work aims to bring attention to the nature of time and the human mind, as well as the nature of healing and growth. I have been simultaneously creating two distinct trajectories of work, often monumental in scale. Included here are smaller and recent offshoots of each.
In one trajectory of work, which is typically characterized as subtractive and fragile, I dye thin sheets of translucent paper and pile them in a gradation that tells a story of transition. Then, I burn through these colored piled layers using the gentle ember of a stick of incense to make tiny holes and marks that reveal hidden layers. The burning creates a physical change- a transformation. In some ways it is a loss, and what is burned cannot be undone. In the colored collage works I have included in this flat file collection, I have taken the burned scraps of thin paper that I have excavated and saved from previous work to create new compositions. I layer and collage burned paper fragments on wood or masonite panels, which I then sometimes further develop with watercolor and gouache. The process is one of inhabiting and caring for the discarded, resulting in intimate spatial abstractions.
My other major trajectory of work is typically characterized as additive and playful, using piled stickers. In the collection of black and white works included in this flat file collection, I began by painting large ink drawings of eyeballs, then digitally scanning, shrinking and repeating them to print and cut my own small sticker sheets. The resulting eye stickers units are piled on each other; creating larger aggregate units placed on hand painted and marbled ink backgrounds. In my placement of the piled eye stickers, I am creating a relationship between figure and ground, considering how the movement of a line or figure of piled stickers responds to and interacts with the movement contained in the background patterns. Similarly, a relationship emerges between the viewer and the subject: the viewer’s eyes gaze out, moving across a landscape, reflecting upon and reacting to that which they encounter. Finding the images of eyes in the work, they may see these eyes looking back at them. Through these relationships, the eye can be understood as a passageway or channel carrying stimulus from one place to another—a vehicle for voyage, curiosity and collective perception.