• Reflecting on her practice in general and more specifically this new body of work the artist notes: 'What has painting...
    Reflecting on her practice in general and more specifically this new body of work the artist notes: "What has painting to do with disappearing? By its very nature, the act of painting makes visible. In the studio we work to fold ourselves into our work entirely, we work to disappear. This is an art as much as it is a mystery. To disappear in one sense is to appear in another. We disappear in the making as we disappear in the reading, and in the feeling. As artists we make to find our way. We make to see, to feel, to move through. Much like we do in speaking, or in writing, we can surprise ourselves with what we say we see. We move between the details and broader views from day to day - as we grow - between what we see with our eyes and sense with our hearts. My paintings consist of layers of indecision. I know of no other way than simply to begin, and I do so having little idea of where the work is taking me. All paintings go through their “ugly phase”, or - as my high school students have told me - their “adolescence”. I have come to trust the “not knowing”, to understand that in the end these early marks and layers enrich the final painting in ways no other approach can. Painting is a delicate play between accident, impulse and control.
     
    There is vulnerability in expression and in observation. This vulnerability creates space for shared understanding and, too, for misunderstanding and alternative readings. The work of the artist is in the making, and ultimately in the letting go of too-fixed a frame and too-narrow a reading.
     
  • This is the play that the fluidity of paint offers both artist and viewer. Meaning is located somewhere between emergence...
    This is the play that the fluidity of paint offers both artist and viewer. Meaning is located somewhere between emergence & disappearance, between clarity & suggestion, between thought & feeling. This is expressed in the physical material qualities of the painted surface as much as in any image or handwritten text. The glowing edges of these paintings on show remind the viewer that each painting is an object; there is a side to each painting that is sensed, though it cannot be directly observed.
     
    There is a conversational nature to the worlds we inhabit, and painting is no exception. In making, artists have an intimate understanding of their work, and simultaneously no idea of what it is they have actually made. At their best, words function in the way a painting does; by means of suggestion, they can unfold this way and that. Living images. Thoughts from the artist's notebooks.

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