LUX (PAINTINGS AS A SPACE FOR TIME)
I explore color phenomena I observe in landscape and light. I want my color to seem like a flavor, or feel like a kind of touch or scent. My color combinations create optical mirages (called film color) that appear and hover above the surfaces. The lines are painted by hand, and become wobbly strata, accumulating as soft geometry, extending across the panel’s surface and over the edges, creating perceptual puzzles that tangle the illusion of two-dimensional space. Multiple panel arrangements cast shadows on the walls, linking spaces between the panels, reuniting the panels as one.
This work is about night blooming flowers inspired by spending time in upstate New York in the spring of 2016.The lilacs were in bloom and their high, tickling fragrance was often present, almost like a shape or form that one could flow through. When my work day was over, around 2am, and it was quiet and dark, I would walk across the tiny Wassaic hamlet from the studio to my room and I'd find myself smelling the lilacs. These large paintings are 60x60 inches- almost to the extent of my wingspan- and are subtle and atmospheric, like the night scents. I was not only inspired by the natural fragrances but also the feeling of outdoor shape-spaces as they responded to temperatures and weather.
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.