My work in the studio is a record of attention to the materials of being. The work involves movement in the liquid present towards catching momentary relationships – not unlike a street photographer – and freezing these in time. In this way, time becomes form. While it may sound like an oxymoron to describe these as simultaneously “created” and “found,” this is the paradox of consciousness.

The materials currently at play in my studio are canvas and fabric, found paper, and color, and (by process and invitation) light and shadow. Color arrives through paint, found fabric and sewn-line. Color and line are at play with the substrate, and the substrate is at play with itself. The paper, canvas, fabric, or plaster substrate can be bunched up, ruffled, frayed, or folded over itself. The substrate is catching the color, or holding space for it should it arrive; a sometime host and sometime abject comedienne.

In recent work I used plaster, with its impressionability, and sensitivity to time to record flux and stasis. Plaster acts as an index of that with which it has contact during its development– similar to the way photographs contain traces of the real from light, and the way beings retain traces of their development.

I continue this capture or slowing of time, to see time in space, isolating moments out of the flux for my own experience and to give this experience to the viewer. The act of making and seeing are the same act of attention. I ask questions in form about the nature of being a self in the world, a body and a mind, in flux and in stasis. These works exist as records of empathy and collaboration between the materials and myself, an attempt to see “life stand still here.” 

Link to my work in the

White Columns Curated Artist Registry

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