ARTWORK > Ostinati

Raked Rhombus
rubber furniture pads, spackle, marker and PVC coated woven mesh on wood
20" x 21"
watercolor, spackle, wood filler, terry cloth, thumb tack, and PVC coated woven mesh on wood
20" x 14"
Cement Sieve
spackle, epoxy and rubber gripper on wood
8" x 8"
Porous Plantings
spackle, wood filler, tape, glue, and fabric on wood
9" x 13"
Finch Firth
Mesh fabric, spackling paste and velcro
12.5" x 9"
Hair Cloth Linear
spackle and wool interfacing on wood
8" x 15"
Pale Phyllo
wood filler, spackle and rubber gripper on wood
10" x 15"
Corrugated Contingencies
wood glue, cork furniture pads, spackle and rubber gripper on wood
21" x 19"
felt and rubber furniture pads, spackle and PVC coated mesh on wood
11" x 11"
Mustard Mesh
wood filler and fabric on wood
17" x 9"
Spackled Symmetries
spackle, velcro, and rubber gripper on wood
21" x 19"
Phase Shifting
spackle and fabric on wood
12" x 13"
Rout About
spackle, epoxy, felt and rubber furniture pads, velcro, and PVC coated mesh on wood
8" x 24"
wood filler, wood glue, felt furniture pads, and burlap on wood
17" x 15"

Before I was a painter, I was a kid in my mom's fabric store, surrounded by prints and textures. I learned to play rhythm instruments such as the piano, the guitar, and the xylophone. I spent time in my grandparent's basement--a wood-shop, where they repaired and refinished old furniture bought at auctions. This may be why as an adult I have a strong affinity for places like hardware and fabric stores, or why my artwork is more influenced by the music I hear than the visual art I see. I have decided to explore these affinities in my practice.

Foraging for "art media" in fabric, hardware and thrift stores invites discovery at every stage of the art-making process. My palette is inspired by the spectrum of these materials (e.g. wood glues and fillers, industrial fabrics). A dialogue begins between a stretcher frame, substrate, and media. I'm interested in asking questions about material relationships as well as how to be innovative in their applications. A process of material rhyming binds unrelated materials into a harmonious work. I've varied my mark-making applications well beyond brushwork to include pairing, tearing, pushing, sticking and scraping. I'm currently in the process of cataloging this mark-making and material research. I'm also "mark-sourcing" with my camera phone, taking note of interesting lines and shapes found in sidewalk cracks, electrical wires, peeling paint, and other everyday imagery.

Visually these pieces embrace an aesthetic similar to that of minimalist music - layered textures and constantly repeated patterns which are subject to gradual changes. Materially, they explore utilitarian themes steeped in the painter's tradition. Personally, they draw out my innate aesthetics and intertwine them.