I work from a place of questioning, of searching for resonances. Realizations are found through the additive and subtractive act of painting and the freedom of image invention that painting allows.
As a process-driven artist, I am invested in painting as a physical act of thinking. Process informs everything – it is the work. I use painting and installation to explore ideas of struggle, the residues of trauma, and the forces of nature against the body. Each piece is found through a directed struggle, formed and broken, and formed again, by mark-making as a living action.
Through a repeated, mediated figure and the relationship between that figure and her environment, connotations are able to build as layered sets of actions, challenged through each successive reiteration and formed into open narratives through the back and forth, the push and shove, of painting. It is an acknowledgement of the codified language of painting, the knowing, paired with the use of that language to go beyond its known self, the not-knowing. Each piece is the residue of the act of working toward a semblance of meaning. It is about finding those small epiphanies that re-tell, in a new way, what we have always really known.
The underlying mechanism is an acknowledgement, a meditation, on the beauty and horror of the limitations of language. The overarching goal is to use visceral cues and a shifting surface as evidence of the larger human struggle – not in an ideal world but in this world.
My process – which sieves what I see, think, and research through a physical struggle of marks in continual negotiation, fought hard, until each world is found and solidified into its own language across the surface – made sense for recent research conducted in Iceland, where questions of physical struggle and presence were seen with new intensity – and makes sense for my current research on Bosnia and Herzegovina, where the vulnerability and endurance of the body continues to hold the residues of war that are still so evident.