Means of ArrivingHandmade Paper, Monotype, Acrylic Paint
19”x30”
Patient WorkKitikata Paper, Lithography, Monotype, Acrylic Paint
20”x28”
Easy CompanyKitikata Paper, Monotype, Screen-Print, Acrylic Paint
21”x28”
The Mornings and the Evenings
(In progress - updating)
Lithography and intaglio series where color is a metaphor for the passing of time. Interior spaces frame exterior settings while cast shadows express momentary change in an otherwise constant space.
Lithography and intaglio series where color is a metaphor for the passing of time. Interior spaces frame exterior settings while cast shadows express momentary change in an otherwise constant space.
Welcome to the West!
Lithography series aesthetically framed in vintage travel memorabilia, highway billboards and classic cowboy cinema. Naming the prints with imaginary towns plays on the misconception of the American West mythology; the imaginary destination. Technological innovations such as various forms of aviation, satellites and agricultural machinery, are staged as action shots that activate the narrative quality and excitement in retelling an adventure. Scale shifts are irregular to further embrace the illusory narrative of what we are taught and what pop culture sells as an authentic ideal. Cynicism is partnered with sincere expressions of joy from childhood roadtrips. These moments are reflected in sentimental tropes, bright colors and illustrative styling.
Welcome to Elyria, Nevada!
Lithography
20”x24”
Welcome to Johnson, Oklahoma!
Lithography
20”x24”
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Welcome to Salvo, New Mexico!
Lithography
20”x24”
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Call to Supper
Call to Supper creates a mental and physical space to reflect on how perceptions, concerns and emotions can shift over time and circumstances. I work with repetitive techniques slow processes, and set structures that allow for the unknown to emerge. Here, the artis places trust in the value of chance encounters that are guided by intuition, and where touch is proactive. The exposed substrates are a humble reminder of efforts spent, and the self-referential imagery is a form of fellowship with the viewer.
The repeated motifs of rocks, gloves, boats and furniture offer context and perspective. By utilizing these forms, the seemingly clear distinction between interior and exterior significance is eroded. The personal becomes a communal, shared experience, like a conversation enjoyed over a good meal.
*This exhibition is a short succession of notes, staggered to produce a singular impression; here a brief melodic formula multiplies and longer visual passages develop.”
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