My paintings are inspired by the environmental concept that the more disorganized, over grown and rambling “nature” appears, the more life it can sustain. In short, my studio practice explores the limits of mark making, layering and processes to contemplate buoyancy, fecundity and collapse.
My painting practice is defined by the use of media, self made tools, and application of paint. I have devoted my career to manufacturing hand made paint, building and employing unique tools such felt block stamps and rollers and exploring the limits of paint application. My current painting process draws from the surrealist technique of Decalcomania or a loose offset printing technique in which I roll my paper through pools of hand ground pigment and binder to create unexpected shapes and configurations. For this maneuver on larger work, I use an enormous palette and roll the painting ton top, as I roll, in addition to paint, I pick up studio detritus including my hair, tape and other elements of my process.
I paint with hand ground mineral pigments mixed with Kremer matte dispersion acrylic binder. I also use silkscreen inks, stencils, woodblock stamps, brayers, pan watercolors, Caran D’ache water-soluble crayons and various homemade tools. Supports include BFK Rives printmaking paper, Stonehenge paper and wood panels.