I create paintings using synthetic materials such as a broad range of latex paints and shaped sheets of acetate. Artificiality is at the heart of my work, binding together narrative, materials and process. I began using acetate as a way to isolate individual marks on a surface, discovering that the utilization of both sides of the acetate creates subtle tonal shifts. Pastel transfers trap stamps of color under the glossy surfaces. The use of plastics serves two essential roles: affirming the artificiality of a recreated approximation of sensation, while simultaneously placing my work in a contemporary context. Using real and contemporary materials affirms a complex relationship between illusionism, materials, process, and fact. These illusionary screen-like surfaces invite viewers to question how they’re made, while triggering potential suppositions of significance during the attempt to interpret why my work is made this way.
I seek to express shared experience through color and sensory association. Predetermined color groupings encountered in the world are catalogued, connecting sensory experiences through visual and tactile similarities. The same canary yellow is found in the history of painting and on the pharmacy wall. The chosen experience loses its original significance once it is translated and reproduced as an art object, presented to the viewer who in turn forms a new chain of interpretive association. The paintings represent memory as a construction of real everyday fragments, yet the pictorial language engages as an abstract counterfeit of reality.
Below, paintings in the new series Submarines & Satellites, done during the residency.