Statement

Muscle memory is the intuitive yet informed method I use to make my work. My physical body moves, marks are made, and familiar gestures sweep across surfaces. This is the start of many of my paintings and drawings.


This method is rooted in feminine knowledge that stems from my psychological interior and the natural world. Nature provides the philosophic chaos and entropic foundation that I work with to create order through the process of painting. The dominant canon of abstract painting is associated with masculinity, so I reclaim this process as I wonder, what is feminine abstract painting?


I create non-objective paintings informed by the scale of my body; most of my paintings are made within 65 inches which is my height and reach from fingertip to fingertip. The pairings of color combinations are determined by opacity, transparency, and hue. I often create assembled compositions from multiple paintings and more recently I use grids paired with gestural painting to combine geometry with fluidity.


With this process, I painstakingly calculate a grid, determining both overall size, orientation, and design. Then with precision and mutability in a single session, I paint a rhythmic sweep across and around the grid. In this way, the grid forms a hard and soft boundary for the work. Pressure and containment are firmly invited to work together as the grid interacts with the gesture.


I spend time with unanswerable questions, yet my ongoing inquiry is an insatiable desire to quantify or systematize something that is unquantifiable. The felt sense of my body and its movement is the method I use to engage these unanswerable questions.