Feb 14
The structure of a still life becomes the window through which the paintingās process is visible.
Front and back. Sketch and underpainting. More than one state at once. Reflection as image. Reflection as pause.
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The structure of a still life becomes the window through which the paintingās process is visible.
Front and back. Sketch and underpainting. More than one state at once. Reflection as image. Reflection as pause.
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A thistle across multiple states of making and existence. It remains suspended between stages, allowing process, revision, and exposure to shape the experience. Built from stacked and joined canvases that collapse distinctions between front & back, image and support.
A Cardinal painting revealing its own construction. Front and back, paint and drawing, existing at the same time.
Finally done with the 26 paintings of āAdulteratedā childrenās alphabet blocks.
Artworks for letters J, K, L added to āAdulteratedā, alphabet blocks reimagined for adults. 12 done, 14 to go!. Art in progress.
Each work is built from two joined canvases, about 12x15 inches, sometimes horizontal, sometimes portrait, painted in different styles. 12 letters done, 14 to go.
When shown together, the 26 pieces will connect into one installation a shift from playful to dark, from memory to confrontation of our lived experiences through childhood to not so cheerful realities.
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More artworks added to āAdulterated,ā an alphabet reimagined for adults. Letters G, H, I. 9 done, 17 to go! Art in progress.
New artworks:
āAs The World Turnsā invites viewers to look beyond surface impressions into spaces behind and beneath, where secrets and struggles endure out of sight, held in the past and imagined futures.
A postcard-like landscape of the same farmhouse in different seasons is deliberately ruptured and opened, exposing the reverse of the canvas and small green toy soldiersāsome locked in battle, others climbing above. Faint traces of another painted scene bleed through from the front, leaving ghostly stains that mark the hidden side as a record of unseen realities. These hidden elements haunt the quiet composition, reminding us that behind every calm faƧade private histories and conflicts continue, whether remembered, ongoing, or still to come. The work echoes the cycles of the seasons, where change is constant and time repeats, but not everything is visible. The ordinary carries conflict. Some things remain buried in the layers, fought over, hidden in time, or surviving in the spaces behind and beneath.
Every surface peace is contingent, provisional, and haunted by what it conceals.
Title of painting āFOLDED TIME: ENCOUNTERS AND TRANSFORMATIONSā
explores the evolution of female representation. Examine how the female form has been viewed and portrayed across different eras and mediums.
The artwork examines the intersection where art history meets pop culture. This piece considers how iconic figures can "face" each other, prompting a reflection on our understanding of time, change, the layers of history, and the enduring power of imagery. It engages with ideas of embodiment, nostalgia, and the shifting depiction of the female figure across visual languages.