The focus of my work is the mysterious space of the mind and related ontological meditations. Through the lens of perception, fluctuating between the miniscule and the grandiose, we find fear and wonder of the unknown, the invisible, and the uncontrollable. Based initially on an investigation of the interior world of the body where beauty and illness mingle in the same fluids and membranes, my work has become a broader reflection of where science and the metaphysical intersect. Initially referencing microscopic imagery, the newer paintings push an imaginative space that exists beyond the threshold of the eye or lens. Forging a connection between the microcosmic and macrocosmic, the paintings are invitations to contemplate topographical passages through our own internal depths.
The tensions between the scientific and the spiritual, the corporeal and the ethereal are what drive the work. My process includes layering translucent washes of color and building up a system of marks. As amorphous shapes bloom through the application of fluid pigment to wet surfaces, the marked ground references a stained biology slide. I proceed by applying tiny marks and patterns to create an ethereal space where particles gather and disperse in an endless cycle. In some areas these particles accumulate, and in the case of the works on panel, layers of silicone begin to grow, emerge, and cluster on the surface, mimicking how cells coalesce into tissues and cysts. The result is the juxtaposition of surfaces that both attract and repulse. While the initial impetus for these compositions is a controlled symmetry, the mutability of the materials often disrupts a perfect equilibrium.
My interest stems from growing up in a family of science and health practitioners. My focus intensified when my mother both a nurse and a devout woman of Catholic faith was diagnosed with and ultimately lost to cancer. The process of repeating layer upon layer, mark upon mark, becomes a devotional practice in contemplating the relationship between spirit and matter, presence and loss. Strands of cells appear as tissue-like prayer beads a tactile element for counting countless meditations. Fluctuating between organic fluidity and manipulated surfaces, I use this combination of techniques to speak about the tension between what we can and cannot control as well as the exquisite and delicate balance between certainty and faith, what is known and unknown, and holding on and letting go.