The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
I seek self-awareness in my work. I use painting as a way to watch myself think. I see painting as a paint-thing; A holistic entity. For me painting is a time-based medium. Within the last few years, I’ve staged several paintings as three plays: I Lost Something in the Hills or A Painting of Blue Roses, Keychain’s Stream Dream, and She Moves Soft Things With Her Mind. I wrote the scripts by planning out scenes through painting. The paintings I made helped me imagine the places and actions I was writing about and the writing focused the paintings as scenes in time or mise-en- scè€ne. The general feel of the performances address themes of: the animation of everyday objects, death, motion, emotion, and transience.
While working on these productions I imagine the tableaus of performers as painted places come to life. I think about lighting, layers, atmosphere, color, texture, forms interacting with one another, timing, composition, and space. All things I keep in mind while making a more traditional painting. People and props in front of a painting create a live jolt, an interruption in an undulating field. I link painting and dance: the in-the-making mark or trail is not confined to movements of the hand. Instead it comes from a whole-body-mind-space.
In recent months I have been using the wall space around the two north-facing windows in my studio as an armature for painting. I stretch canvas across this vertical surface. As I apply layers of paint, the fabric absorbs the varied texture of the wall and holds this form. Once peeled from the architecture this drooping painting is skin-like and bulging. In Ovid’s Daphne myth, the goddess’s father turns her into a tree to protect her from Apollo’s love. Instead of perceiving tree- Daphne as a building-defense-system, imagine that her bark absorbs and becomes her pain. Emotion is tied to architecture.
Focusing on presence and slippage, I revel in the subjectiveness of our senses. I play with material special effects such as afterimage, repetition, and color-layer contrasts using paint and plastic lighting gels. At times I hinge these maneuvers to occult, apparition-filled eerie content, wanting to drive home a magical strangeness. Multiple planes within one space can make spontaneous and uncanny worlds.