My paintings are a visual diary of my life, typically depicting ordinary, personal situations that contain emotive objects or people who are important to me. Painting provides a meditation on those subjects and permits me to better see, understand, and transcribe my life.
I work primarily wet on wet, enjoying the fluidity of paint while constantly alert to gain a precision and clarity about the subject I am painting. When I feel that clarity, or I am hesitant of the direction the painting needs to go I will stop. If unfinished the painting may sit for an extended period of time before discovering where it needs to go.
Titles are important to me. I spend a great deal of time thinking about a painting and the visual information allows my mind to wander through memories of the subjects, the artistic elements used, or my mental state when making. Fragments of these thoughts are pulled together as I devise a title that helps me reignite my thought pattern.
Historically, I place my work in relation to the 18th century still life painters, specifically Jean-Baptiste-Siméon Chardin and his work with his own everyday items. Also, I appreciate the quiet found in Gwen John and Giorgio Morandi’s work. Contemporary influences include Alice Neel, Chantal Joffe, and Lois Dodd. These painters allow paint to speak for itself and for the subject; with their own language, they each extend something beyond the surface of a painting.
Viewing work in person is crucial to my practice. I often visit cities seeking specific bodies of work to spend time with. Most recently, I researched Vincent van Gogh’s work in Amsterdam. Reading is an invaluable source of inspiration. I gravitate towards writers who use quotidian subjects that are similar to my own subjects. I like reading literature and poetry that holds a direct tone, yet remains penetrable and interesting. Writers I align these qualities with are Lydia Davis, Sylvia Plath, and J.D. Salinger.