Another World Inside the Walls recalls a fantasy world to which I would dream of escaping through the wall of my bedroom when I was a child. I wanted to evoke both the landscape as well as the emotional dream-like quality. A large grasshopper in the second panel invites looking for images and their juxtaposition. Throughout I’ve included images of Alice and the Caterpillar, famous of his “Who are you?” question, a series of 19th century European houses, a farmer woman holding back a cow in Julien Dupre’s painting In The Pasture, as well various passages from books regarding childhood, emotional development, and the role of imagination.
The style here reflects my research at the time into the work of Joan Mitchell and Willem de Kooning. Despite the strength of the influences, this was one of first paintings where I truly and deeply felt involved and invested in the process.
48 in by 80 in, acrylic and mixed media on masonite, 2012.
With Ways to Dissolve, I continued my exploration of the red pigments. After painting the atmospheric Turning Red, I wanted to use the same red pigments in a more solid structured way. I also wanted to get into it with gutsy brush-strokes as opposed to the smooth wispy paint in Turning Red. At the time, I was looking a lot at Willem de Kooning’s Clam Diggers and Jasper Johns’s Target and Numbers and I can see where their influence fed into this painting.
Inspired by a visit from Tibetan Buddhist Monks, we had an assignment in Painting III to paint our own mandala. I had difficulty with this project, because I didn’t like the idea of arranging icons or painting a clean design. However, i did enjoy designing the structure with a compass. The whole design is based on circles; I used the intersections of these circles as points to draw the lines. I then went over each section multiple times building up layers of drips, which allowed me to feel like the highly structured painting had a human element.
A painting based very directly on The Third of May by Francisco Goya. I wanted to push it further from the original than I did, but was still hesitant to do so. So, I ended up hovering somewhere between my intention and just copying. Eventually, I’ll pul this out and push it more.
One of my first uses of an acrylic gel transfer, Position Set in Motion was created during the Mixed Media course at Brevard College. Two benefits of gel transfer over direct collage are that it is transparent and that it allows the imagery to be warped. In this piece, phrases have been separated from each other by the distortion, like snippets of memory: “books of poetry”, “for us to feel”, and “doing more than brushing the surface.” A 1970s photograph of a mother speaking to her daughter in a kitchen is the clearest image, which has been transferred on top of brush marks and then itself further painted over. Empty lines, like ruled notebook paper, fill the area were text is notably absent.
12 in by 9 in, acrylic, paint, and gel transfer on canvas board, 2011.
During mixed media class, I made a series of 3 paintings inspired by the Billy Collins poem “Introduction to Poetry.” For this painting, I painted the surface pink, spray-painted it black and then applied a dollop of white gesso. Two pounds of strawberries were then carefully placed into the gesso and then violently hammered into the surface with a 2×4. Once dry, everything was coated in acrylic polymer gel to prevent the piece from rotting.
18 in by 15 in, strawberries, spraypaint and acrylic on canvas, 2011.