2014 I became interested in merging a gestural style of painting with a geometric and minimal sensibility. A series of paintings were completed as I experimented with combining abstract organic and geometric forms, expressive brush and knife work with less activated canvas. I brought both a simplicity and emotionality to the work. These paintings compared with earlier series, had a restricted or limited palette, and reflected the theme of aging and the passage of time.
The work from this series was a dialectic between past and present, control and abandon, and permanence and transcendence. I developed techniques which mirrored the meaning of the work. For example, in this series, older paintings became new as I sanded,scrapped and wiped the surface with turpentine, preserving forms and subtle burst of color that became part of the new work's history. These pieces echoed the ways in which we carry our history within us.
After the past 16 months of nearly constant exhibiting, (three solo shows, a two-person exhibit in Germany, group exhibitions and travels), a new series began. In December 2016, I switched my format from a 48x38 rectangular canvas, and I began to work again in squares. Form, space, edges and color become a priority against a square format on linen. In this newer work I emphasize the 2 dimensionality of the picture plane and in places, leave the bare linen exposed. Each painting borrows it's composition from the previous painting. These pieces are almost like a tribe, with genetic links. During these 16 months I also began a series of collages.These works on paper explore color, depth and negative space. The work tends to contain parts of old oil and water-color paintings, maps, buttons and found objects, once again creating something new from the repurposed old canvas, and objects and are almost sculptural.
My latest work completed summer 2017 are still in process. In these pieces, while form and color are still primary I employ and experiment with unorthodox techniques and material. As such I am sew with silk thread on the canvas and creating collages canvases and canvases with recesses containing shards of pottery .
My work in oils, no matter how abstract, at times seem to refer to the female body. But, unlike De Kooning, and others, the abstracted and deconstructed figure is not objectified, but rather, the view is an empathic one, where the female form is seen from the inside out. I believe that one of my gifts as an artist, is to understand uncertainty, conflict and human yearnings and make those manifest in the language of paint. My work reflects the the triumphs, sorrows, losses and complexity of the human condition.