Aether
march 5-27
reception with the artist, friday march 5, 6-8pm

As an artist I have found that process is a fundamental part of my work.  In practice this means that I might have ideas about where my work is going, but often the physical process of the work informs what actually happens in my studio. I am interested in evoking sensation and making work which is corporeal in nature.  While the figures and portraits may begin to point towards or suggest sentiment, it is important to me that the work is not sentimental but experiential.

Growing up in a small agricultural community in California, my exposure to cultural institutions was limited, at best.  I have always been drawn to places and objects that are full of mystery.  Some of my most significant visual influences were images I saw in church.  While the religious aspect of my church experience was less pressing, the visual cues at church were what kept my attention.  I am fascinated by shrines and ex-votos—devotional votive objects that families make to show love and respect.  These objects inspire the type of physical intimacy that holds my artistic practice.  Asian art is also a strong influence on my work.  From Tibetan medical drawings to Buddhist sculptures, I find myself looking to ancient forms for inspiration.  Gesture often plays a most prominent role for these artists—as it does for me—whether it plays out in a small aspect of the image or is its essence, as with the images of hands.

Layering is another essential aspect of my work.   Whether this is seen or perceived as physical or contextual, my interest is in combining the literal and emotional qualities that are evoked through the physical process of layering.  I begin by collecting ferns and other organic materials, transforming them through drawing and the printmaking process, creating images that marry the ferns with images of the body.   These images reflect   the uniqueness of individual hands, as well as reveal the tracing of the spirit.  The process, in which the image itself is submerged in a tray of heated wax, metaphorically removes the image from the world of the living but paradoxically preserves it indefinitely.  The images act as mechanisms to stop time—to document a moment in a person life—an open meditation on portraiture.