Painting and printmaking have always been a balance between responding to the materials I am working with and the intuitive knowledge of how to build or compose inside a square. I generally work back to front, building a surface until all the shapes and colors convey a sense of purpose and place. I add and edit, recognize relationships, build support for a shape that appears too heavy, while continually hoping to keep the painting open and breathing. If the work appears too choked up or densely packed, I’ll apply another layer of paint or ink in order to open things up again.
The prints are generally faster and have inspired the direction and process of the paintings. The shapes are stacked from the bottom edge of the canvas and are piled up and out to reach the other sides. I am intrigued by how a shape will appear attached to an edge and the rest of the world inside the painting can feel hinged or balanced upon this one shape. The narrative in my head as I am working is about precariousness and strength, the tension building as I add more. I also think about community and the relative dependence of one thing on another. There is tenderness in a gesture from one shape to another. They lean, support, bear weight, and combine to create a path through the field of color.