River stones: investigating pigment, weight, and composition

Watercolor allows pigment to move as the medium dries; therefore, color mixing results in surprises as the material settles.  Each color operates a little differently depending on the mineral nature of the pigment in the paint and amount of water. Some pigments are physically lighter and float to the top, while others sink, mapping paths as they dry.

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Through making the river stones paintings, unplanned color relationships are unearthed. Small landscapes appear in each exploration. Edges vary with each "stone." Similarly varied are the visual weights of each one, relating to value, saturation, and type of pigment used.

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Each composition focuses on the relationships between the stones, considering variety in size, value, and color. These relationships become the subject matter for the work.

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Finally, it's beautiful to me that the sediment in the paint can create imagery related to the mineral that makes the pigment.

Found paintings and installations

Walking in industrial edges in Brooklyn's Sunset Park, I find examples of complex compositions, and strange and interesting, layered material combinations that show the tests of time, weather, and deterioration. 

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What was written on this sign before the text eroded?

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Here the construct of a frame works to hold blocks of color seen through a wire fence matrix.

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It's unclear how these marks were made. The edges and palette remind me of Rothko's paintings.

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This is found on the window of an old garage door. It is hard to tell if this is done on purpose. If not intentional, how is it possible to have such an interesting accidental painting.

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Someone at this junk shop may be an artist.

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"The glories like beads on my smallest sights and hearings-- on the walk in the street, and the passage over the river." Whitman: Crossing Brooklyn Ferry

Organic Abstraction and Interventions

With these works I'm thinking about traditional painting perimeters as architecture and how to change expectations of edges and right angles. Sort of like using interior architecture for installation/intervention of what's expected in spaces.

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Organic and inorganic angles and edges. 

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Somehow these relate to ideas of masculinity and femininity as well-- considering how gender roles may influence how women and men hold space differently. 

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Materials are traditional for painting but they are used in somewhat untraditional ways. Materials and colors carry associations that may change depending on the viewer.  

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Stretchers, wire, frame, cut and sewn stained canvas, synthetic silk, and panel.

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Color Relationships

Discoveries made through experimentation. 

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These started as Star Burts series completed for an installation at The Art Center of New Jersey this winter.  I was working with the formal question of how to make painting straddle the line between two dimensional surface and three dimensional form. Color and paint act differently moving in three dimensions. 

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I sewed canvas and synthetic silk over wire and stained and painted each form with acrylic. When stacked the forms create layers of color interactions and push the work further toward the three dimensional. 

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I'm interested in these interactions and how unexpected relationships happen.

I'm reminded of my love of Joseph Albers' book, "Interaction of Color" and how he encouraged color studies through exercises that can help you see the way that color works in relationship to other colors.

I'm reminded of my love of Joseph Albers' book, "Interaction of Color" and how he encouraged color studies through exercises that can help you see the way that color works in relationship to other colors.

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I also love Albers' association between color and constellations and musical arrangements. 

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I think about how we see color and how it is personal to our experience.