Geometrical liminal parameters
This type of painting practice may appear minimal at first glance, her formal vocabulary delivers a simple yet complex scheme; incongruent geometric shapes stand in contrast to one another on the vast radiant landscape. The motionless triangular and quadrilateral shapes in dialogue with each other create a peculiar energy. Moreover, the asymmetrical configuration of the shapes suggests ambiguous relationships in the space they occupy. The composition of the piece presents an intricate visual field that allows figures of minimal agency to stand out through geometric configuration.
I like these triangles – they remind me of my use of the triangle as an image other than the pure geometry of the form.
This constellation of paintings is wholly individualistic and other than to say they are “radical abstractions”, they are eccentric enough to elude classification. I refer to aspects of my work as a combination of comic restraint and purist abstraction. Combining contradictory elements of local color with abstract color, vocabularies of both painting and drawing, disorienting spatial relationships, I create works that are as provocatively ambiguous as they are soothingly beautiful. In my desire to “tell stories without words” I imply narratives and geographies in a realm between landscape, mapping and abstraction. The narratives in the paintings are stories taking place over a period of geological time, with references both topographic and tectonic, alluding to simultaneous multiple histories. The light that is created within the paintings is a spell-binding presence that shifts the picture plane into a deep dimensional space at the same time that her compositional shifts in scale destabilize. Speaking on my use of color I refer to my desire to create “big areas of ungracious color – chemical color that doesn’t exist in nature – to open up like the sky but not be sky.”
It’s not an overstatement to say that these paintings suggest new possibilities for what abstract painting can encompass in the first part of the 21st century
I began working on large horizontal abstract paintings that were involved with ideas of gravity, slow painting time, indeterminate color, and trying to create a complex painting space that appeared geometric, but alternately shifted into a deeper space. The color acted simultaneously as atmosphere and object. Later my painting has shifted to include referential markers and moved to a more evident landscape/mapped space that has a geological narrative. I have studied geology and while on a trip to Fiji heard a local “reading” of abstract patterning that chanted a retelling of their voyage. I began thinking of how abstraction could hold meanings and act metaphorically.