My work shifts and changes in response to light and proximity. I layer conflicting personal references, such as fog colors, music, fabric and thought patterns, to create a new shape-space. I want spontaneity and chance to influence the outcome and direction of each piece.
Color and reflection of the atmosphere held deep blueness last autumn in Brooklyn. The pink dimension of California light was not visible. The blue felt melancholy, lightweight and fleeting. The light was never warm.
San Francisco overflows with optical mixtures, where light is shifting through fog, city grit and varied topographies. The layers of clouds are separated by color from the streaming fog and mirages occur daily because of the temperatures inland. The West is Pink.
I have focused my recent paintings on atmospheric color and light explorations. Last fall we lived in Brooklyn for three months and I was struck by the change of light quality and the resonance it had within my work. Clearly the colors of cities and countryside are different but I’d never thought about the proximity to different oceans or latitudes so consciously, or noticed the effect on my color choices. The newfound sensitivity has focused these paintings on perception and color.
The Portmanteau paintings move between parallel planes of viewing. These paintings on panel are system-less and intuitive, with colors extracted from observation and accidents. Physical atmosphere and hue discordance create perceptual puzzles, like suitcases with hidden compartments.
When the lights turn off, new works appear and emerge. I use metallic, glow in the dark and interference colors to create paintings that shift and respond to the viewer. Flashes of light, reflections, or absorbent darks are transitory elements that invite further investigation.
Like twins but just sisters, VAVA paintings are named for the shape of this word.