Part of observing while walking has led to seeing repeated shapes, stacks, patterns in settling, and weather related deterioration of objects. These questions have made their way into studio work: What makes a shape interesting? What tension exists in the space between objects? How does seeing around or through things affect how space is understood? Where is overlap transparent or hidden?
This summer, I've been walking and reading books about walking. "A Walker in the City" by Alfred Kazin, "Wanderlust" by Rebecca Solnit, and "On Looking, a Walker's Guide to the Art of Observation" by Alexandra Horowitz are among them. I've let go of agenda for these walks and focused on the visual experiences of just observing my surroundings.
"Walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a cord. Walking allows us to be in our bodies and in the world without being made busy by them. It leaves us free to think without being wholly lost in our thoughts." Rebecca Solnit.
There's a kind of order in the disordering of arrangements of things as they exist over time. Something in this observation provides comfort. I'm reminded of the concept of entropy I learned about in school. Things come together when ordered in a specific way, and over time things come apart, but only to lead to more multiplicity.
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.
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.
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.
Finally, it's beautiful to me that the sediment in the paint can create imagery related to the mineral that makes the pigment.
This video helps show the three dimensional illusion Manet was able to achieve. It's not possible to see in a still image. Of course it's better to be able to see it in person and move around the painting.
Rei Kawakubo- Asymmetry, invention and material challenge conventional beauty in fashion with a more interesting result.
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.
What was written on this sign before the text eroded?
Here the construct of a frame works to hold blocks of color seen through a wire fence matrix.
It's unclear how these marks were made. The edges and palette remind me of Rothko's paintings.
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.
Someone at this junk shop may be an artist.
"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
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.
Organic and inorganic angles and edges.
Somehow these relate to ideas of masculinity and femininity as well-- considering how gender roles may influence how women and men hold space differently.
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.
Stretchers, wire, frame, cut and sewn stained canvas, synthetic silk, and panel.
Discoveries made through experimentation.
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.
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.
I'm interested in these interactions and how unexpected relationships happen.
I also love Albers' association between color and constellations and musical arrangements.
I think about how we see color and how it is personal to our experience.
Star bursts are changing form and becoming stand alone sculpture. Here, surprises in color relationships take place.