Abstrakt Gaze #9
Rumor has it I came tearing out of the womb a rebel. Growing up, I never did things the easy way.
That can be said about my art and my process. Painting for me is a physical process. Sometimes I pour it on, sometimes I roll it on, throw it on, rarely do I paint it on. And after dancing back and forth between techniques and colors, I eventually strip it off to reveal the layers underneath. It seems to give the work a sense of mystery and history.
I look for non-traditional materials to add to my work such as joint compound or Plaster of Paris for heavy textures, organic items to use for mark making, like a cut up loofah, or a stick found on the street.
I hand stain all my papers or I let nature do it for me by hanging them in net, with other materials, placed outside on a tree letting the weather "paint" the papers with rain and wind, for a month or two.
I hate to waste paint, so I have developed floor and news art. Floor art begins with either canvas or rosin paper on the floor and any left over acrylic paint, I throw, splash, or scrape on it at the end of a session. I do this until I have covered the entire surface with multiple layers of paint. A sheet will stay on the floor for several months before I roll it up and put down a fresh one.
When I am working with acrylics, I usually have a German newspaper under my art work and I use it as a color testing palette. After the sheet of paper is filled with layers and layers of paint, I use it in my collages.
One of the things I enjoy about mixed media, anything goes. The ability to take risks on the canvas is liberating and joyful.
Over the years I have been lucky enough to study with some amazing artists; Mark Russell, Laura Lein-Svencner, Dianne Martia, James Scherbarth, Rebecca Crowell, Audrey Phillips, Martica Griffin, Krista Harris, Fran Larsen, and Katherine Chang Liu. Like a beautiful quilt, their influences have found a way into my work.