fall/winter studio plan

The project is to paint as meditation.

The goal of the project is to explore where the meditation leads.

Do I need to spend hours and hours on the work? Yes, because painting is how I cope and meditate. What is happening in the sketch paintings in less time? I use sketch paintings to experiment and solve visual problems. I could use the sketch paintings as backdrops for animation. In short, I could paint a lot more, on a smaller scale, and animate these sketches to reveal more work in a different format. Thus, moving the work out of the gallery setting and into a digital space answers the last question raised in the review.

The work will change because I will create smaller-scaled but a larger number of ‘sketch-paintings’. A change that allows for unexpected elements, whimsy, and serendipity is an improvement. Also, I want to try animating the paintings. I want to convey tension in the work in a way that doesn’t victimize the viewer or the creator.  I will paint, animate, sculpt, and photograph often.  I will scout and shoot video and audio.  The imagery willcome from domestic scenes, familial artifacts, pareidolia from sketch paintings, and rural /urban southern landscapes.

Thank you for following my art journey! If you want to see more please follow me on instagram.


Published by Art Belongs to Everyone

Remember Reflect Reform In this work, I have been exploring phenomena of memory augmentation. I experimented with reflections and cinematic images by juxtaposing photographs, paint, wood, and mylar. The direction of the work includes painting intimate, reflective, observations of augmented memories.  I began by building a cabinet of curiosities as a way to form a tableau painting and experiment with different media. Inspired by the relief paintings by artist Sally Han, I built a model of a Victorian cabinet using tenets of Darwin's theory of evolution. I painted on a variety of surfaces including wood, photographs, and adding raw lumber to the pieces. In this process, I disassembled the cabinet to give autonomy to each piece. Although I diverted from the original idea of a final installation, there was an impulse to paint larger. Adding mylar was yet another way to accentuate reflection as a part of the critical dialogue with the work. The final result offers an opportunity to remember, reflect, and reform.

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