My latest piece is explores the concept of amending while building on flaws. I first created this painting by intentionally and irregularly dripping tinted medium on a color-washed canvas. The horse was then enmeshed with the marring lines. The duality of paint application and texture expressed within the painting speaks to the nature of self and the environment. I am working with the idea of the various layers of ourselves. This painting became a search to regain the beauty and balance upset by the initial rift. His gaze seems to implore the viewer to face...something. He calls to engage with him.
Part of my quest, or development, as an artist is sharing my work and ideas. For without that, I have pondered my purpose. What is this drive to create that which has been unseen before?
Georgia O'Keeffe said, "Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important thing--and keeping the unknown always beyond you." The portion of her words that ring with resounding clarity is the idea that sharing that piece of myself, yourself, ourselves, is the primary focus.
Eva Hesse, an influential sculptor working in the 1960s in New York, said, "I am interested in solving an unknown factor of art and an unknown factor of life." I can appreciate her insight as I work through my pieces. There is a juxtaposition that I cannot quite grasp between myself, my subject, the material, and that unknown essence. Each painting is a reach to come to the full understanding of a concept.
I am honored to be exhibiting my piece titled "Adjust; Movement Above 11,000 Feet", showcasing my interpretation of a Montana mountain goat, with whom I shared the Froze to Death Plateau on my way down from Granite Peak. They live in a wild, vast, and extreme environment, and I marveled at the ease that this particular goat navigated the terrain.
For more information regarding the show, please click on the following: "Life in the Wild" show
The truth of shadows lie in the relationship between the entity, the surface contours, and the light. Without each other, the shadow would simply not exist. That blocking of the source of illumination; that elusive shape that creates depth, mystery, intrigue. It's a fleeting moment, a difference constructed by the confluence of factors that rely on each other. In the change lies a distant effect that we may not yet, or ever, see. Does the grass grow a little less where your shadow fell? Does an insect scurry in a different direction? In that elusive moment in time, what truths are in the phantom nature of the shadow?
Capturing those shadows lends legitimacy to each essence of the trinity: object, surface, and illumination.