painting archive
still lifes 2002-2004
These paintings of single objects contain references to nature through a vocabulary of culture and consumerism. Often it seems as if nature is trumped by culture, and making paintings is certainly a cultural affect; yet the act of painting — of creating light and air and space — reminds me that the beauty and vigor of natural processes quietly persist.
book series 2002-2003
By painting reproductions, I describe the painters' self-portraits in the context I had experienced them (in mediated images such as books and catalogs), hoping to reveal both the intensity and the inadequacy of the experience. Although my interest is fueled by the pleasure of viewing remarkable paintings, I'm drawn to the relationships that emerge between the flat image and the physicality of the object, the recognizable reference and the unfamiliar setting, and the distortion of the mediated image and the referenced painting's original form and impact.
invented still lifes 1995-2001
These paintings developed from an interest in examining the accidental and sensory experience of memory: the heady resurfacing of sensations and images from the past. As a visual equivalent of this sensory process, I invent situations that seem both familiar and unfamiliar, that confuse distant events with the present through the juxtaposition of historical and contemporary imagery, surface abrasion, and deteriorating descriptive passages. In each painting, the concreteness of coincidental relationships disproves their improbability and suggests a space where bits and pieces, unmoored from their proper locations, create new meaning.
single figures 1994
This body of work explores connections between the physical and the psychological. In each, the position reveals both the delicacy, strength and awkwardness of the body and suggests a range of internal states: uncertainty, balance, strain and introspection.
body parts 1992-1994
In these works, I look for signs of tension, ambivalence and resiliency within familiar parts of the body. Focus is placed on the fleshiness, translucency and palpability of the parts to intensify a sense of immediacy and intimacy. The process of painting flesh allows me to experiment with color and layers of paint to create a heightened sense of the luminosity and density of the skin, and to draw attention to the strangeness and beauty of the body.
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