My large-scale, layered paintings take forests and the surface of water as their primary sources of reference. I’m drawn to the sensory experience of these natural forms, the unending shimmer across my visual field. This kind of optical density evokes the perception that everything in my scope of vision is equally important, that everything is equally alive.
Artists have long used ornament and decoration to speak to this perception of uninterrupted alive-ness in nature, though the words “ornament” and “decorative” are commonly used as pejorative terms in Western painting. This is an especially intriguing observation at our present moment in history, a moment when we are witnessing in full measure the flaws inherent in the industrialized world’s latent assumptions about nature.
The works in my sample are not collages – rather, they have evolved out of a combination of ink painting, silkscreen procedures, and textiles techniques that use a resist to prevent certain areas of the substrate from receiving applied color. By applying the resist with a paintbrush, I am able to interweave additive and subtractive marks simultaneously. The resulting paintings create an immersive experience of nature’s dense shimmer, but also use repetitive mark-making to elicit a view of nature countervailing to the one held by industrialized society.