Sunday, December 1, 2019

Pandora's Box

Pandora's Box 
oil on canvas

For the better part of a year (mid-2018 to mid-2019) I worked almost exclusively with the Zorn palette. Pandora's Box was the first painting I made with a full palette after that year-long experiment. I was curious to see whether 13 colors would seem garish in comparison. I deliberately set up the most colorful objects I own against a neutral background to force myself to actually use all 13 colors; I wanted to test their range on a variety of surfaces, from most to least saturated. 

I've always loved Mythology. From reading Edith Hamilton in freshman english class to making my first body of work about contemporary sirens, those iconic stories still hold a particular fascination for me. My painter friends were right - it was definitely time to let color back out of the box. 

Sunday, September 1, 2019

Upcoming Exhibition

Solo Exhibition at Western Illinois University 
Featuring new oil paintings and recent pastels

Reception: October 1, 4:30–6:30pm
October 1–November 1, 2019

Sunday, July 7, 2019

Working in Series

Vent 15, 2019 
chalk pastel on paper, 7x7"

Vent 4, 2018 
chalk pastel on paper, 7x7" 

Vent 16, 2019 
chalk pastel on paper, 7x7"

I map studio spaces. The studio interior and its accompanying detritus has been my primary subject for the past seven years, and I document the perimeter of each studio I inhabit in some form or other. This particular round of tracing the edges of the space led to a series of drawings of the eight vents evenly spaced around the room. 

Initially I was intrigued by formal qualities - the arrangement of rectangles, lines, and planes of color divided the square composition in an aesthetically pleasing way. For me, drawing the same subject over and over forces me to observe more carefully with each drawing, considering the decisions of the previous drawings while trying to create something new every time. I was thinking about Monet's cathedral paintings, how changing light and different atmospheric effects make the same subject appear radically different and full of surprise. 

Finding that sense of surprise, of seeing something with new eyes, and in doing so appreciating the seen all the more... is part of why I continue to paint. There is always more to see. 

Sunday, June 23, 2019


demos from DAAP Camp Drawing Intensive

recent figure drawings, all made at Manifest Drawing Center

 photo credit: Michael Everett

photo credit: Michael Everett

Last week was the DAAP Drawing Intensive High School Day Camp. I've taught in the Drawing Intensive camp for the past four years, but this was my first year also running the camp. It was, as always, an intense and joyful week. We had so many great students who were curious and enthusiastic. The other teachers and college student workers were inspiring and empathetic, and they made the camp not only an incredible education but also a lot of fun.

I feel very lucky to be able to split my time between painting and teaching - two jobs that I absolutely love. There aren't many photos documenting my teaching, so I'm grateful that Michael Everett at DAAP was able to capture these moments. The book I'm holding in the first photo is Drawing Lessons From the Great Masters by Robert Beverly Hale, one of my favorite teaching resources.

That being said, the planning in the months leading up to camp as well as the actual camp last week made a serious dent in my studio time. Hence, this month's late blog post (my apologies, dear reader). I'm back in the groove this week. I have a couple of shows coming up later this year and a studio full of new (mostly finished) work that I can't wait to share with you.

Stay tuned!