Sunday, January 5, 2020

New Decade, Old Favorites

10 years of sketchbooks

Sirens, 2010
oil on canvas, 12x16"

South Light, 4pm, 2011
oil on canvas, 24x30"

Barbara's Couch, 2012
oil on panel, 12x16"

Chalk Lines, 2013
oil on canvas, 36x36"

Border, 2014
oil on canvas, 30x30"

Myopia, 2015
chalk pastel on paper, 13x13"

One Eyed Jacks Are Wild, 2016
oil on canvas, 24x30"

Bases Loaded, 2017
chalk pastel on paper, 22x22"

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

Handle With Care, 2019
oil on canvas, 15x15" 

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.