Artist Statement
By practicing yoga and reading Eastern philosophies I explore the nature of our existence. This influences painting the figure as an easily relatable icon of the physical bodies we occupy. I juxtapose my abstractions with the figure to create a space in which our spirits or essence exist within the same picture plane. Yogi philosophies explain that our physical bodies, minds, and spirits are equal entities that live harmoniously in the same vessel to experience this world. However, life experiences and daily events can push us off balance from harmonious being. The goal of Yoga is to reunite this balance through constant movement and meditation.
As with yoga the process of painting is meditative for me, I strive to achieve balance within a composition between opposing elements. In recent paintings the imagery of the figure has been removed; yet traces of human presence remain visible through paint application, references to human activity, mapmaking, and color relationships. My use of paint at times is very physical and aggressive, in other instances methodical and fluid. I use fundamental elements such as color, line, and texture, to represent mind, spirit, and body respectively. I embrace the inherent properties of paint that I cannot control, like drips or spills, to allow the paint and painting to evolve and exist independently, much like the state of awareness in Yoga. While painting, it is not unusual for me to become absorbed inside the painting, as with yoga when I am consumed into being. My paintings are large scale because I want them to engross a viewer inside the picture plane, producing a similar state of absorption.
Each painting has a life of its own, and being aware of the conversation about the direction it wants to develop is important to my process. This dialog extends beyond materials to the history of art. My abstract elements combined with the figure are influenced by Gustav Klimt’s paintings; the line and decorative abstract elements derive from looking at Hundertwasser. My interest in tactility and emphasis on texture is inspired by William de Kooning and Vincent Van Gogh. The color relationships in Mark Rothko’s paintings are influential to my work and thoughts on color. Hans Hoffman’s theory on push and pull informs my abstract space and colors. Through these historical interests, I attempt to find clear ways to visually explain my thoughts on balance and harmony, continuing to grow in this direction.
By practicing yoga and reading Eastern philosophies I explore the nature of our existence. This influences painting the figure as an easily relatable icon of the physical bodies we occupy. I juxtapose my abstractions with the figure to create a space in which our spirits or essence exist within the same picture plane. Yogi philosophies explain that our physical bodies, minds, and spirits are equal entities that live harmoniously in the same vessel to experience this world. However, life experiences and daily events can push us off balance from harmonious being. The goal of Yoga is to reunite this balance through constant movement and meditation.
As with yoga the process of painting is meditative for me, I strive to achieve balance within a composition between opposing elements. In recent paintings the imagery of the figure has been removed; yet traces of human presence remain visible through paint application, references to human activity, mapmaking, and color relationships. My use of paint at times is very physical and aggressive, in other instances methodical and fluid. I use fundamental elements such as color, line, and texture, to represent mind, spirit, and body respectively. I embrace the inherent properties of paint that I cannot control, like drips or spills, to allow the paint and painting to evolve and exist independently, much like the state of awareness in Yoga. While painting, it is not unusual for me to become absorbed inside the painting, as with yoga when I am consumed into being. My paintings are large scale because I want them to engross a viewer inside the picture plane, producing a similar state of absorption.
Each painting has a life of its own, and being aware of the conversation about the direction it wants to develop is important to my process. This dialog extends beyond materials to the history of art. My abstract elements combined with the figure are influenced by Gustav Klimt’s paintings; the line and decorative abstract elements derive from looking at Hundertwasser. My interest in tactility and emphasis on texture is inspired by William de Kooning and Vincent Van Gogh. The color relationships in Mark Rothko’s paintings are influential to my work and thoughts on color. Hans Hoffman’s theory on push and pull informs my abstract space and colors. Through these historical interests, I attempt to find clear ways to visually explain my thoughts on balance and harmony, continuing to grow in this direction.
