From a young age I was taught, and worked in a very representational manner, very classically. As my work evolved the representational quality remained but I have explored different venues of expression. Moving from figurative work to still life enabled me to become more expressionistic in the way the paint was applied, in essence the construction of the painting. I was fascinated with surface quality and transparency and the abstraction that the two afforded the painting. Janet Fish and Richard Estes were inspirational. The overly loaded “tablescapes” allow me to investigate the brushwork and marks I make on the canvas. I am constantly intrigued with the construction of a painting and its resolution
Most recently I have simplified the compositions removing much of the patterns and color. Essentially I wanted to examine the surface quality and mark making in a more abstract and expressionistic manner. I have begun looking closer at Anselm Kiefer, Giorgio Morandi and Lucien Freud examing the surfaces and paint applications of their paintings. Although the image is still quite representational I am working on the quality of the marks and layers of paint. Ultimately I am excited when the painting can be observed from a variety of distances and create completely different statements.
Most recently I have simplified the compositions removing much of the patterns and color. Essentially I wanted to examine the surface quality and mark making in a more abstract and expressionistic manner. I have begun looking closer at Anselm Kiefer, Giorgio Morandi and Lucien Freud examing the surfaces and paint applications of their paintings. Although the image is still quite representational I am working on the quality of the marks and layers of paint. Ultimately I am excited when the painting can be observed from a variety of distances and create completely different statements.
