As a third generation artist, I was raised in a home full of creativity. Summers spent in Northern Michigan served to heighten my sense of the sublime natural world. Eventually my awareness of its potential to reveal our truest selves became the cornerstone of my imagery. I see constant evidence of our attempts to pull our distant primordial roots into present day existence. We instinctively seek solace in the rich, sensory realm of nature. The imagery I create is a visual bridge to this desire for connection and balance.
To further explore the nature/self connection I have traveled extensively to sites that evidence ancient human expression. Neolithic stone circles and Runic inscriptions, Etruscan tombs and the mosaic fretwork of the Mitla ruins- all in their own evocative voices express our intrinsically creative nature. I have studied Hebrew and Japanese characters purely as abstract forms, and follow the Japanese aesthetic principle of Wabi-Sabi.
A few years ago I had the opportunity to see an exhibition of abstract Tantra meditation images. They were created by practitioners of Tantric Hinduism and speak to the idea that abstract art’s roots go back to Native American, Tibetan and Aboriginal. I was swept away by these paintings because they were a manifestation of my vision to bridge the ancient with the modern.
My work contains several elements: ancient symbols, gestural drawing, a primordial atmosphere and chiaroscuro. In art history terms, I draw upon the language of Abstract Expressionism- my use of gestural marks and referencing the mythic are some of its typical signifiers. While I am working, I try to trust my deepest impulses. I feel as if my hand, holding its brush, is a conduit connected to what Carl Jung calls the animus, the truest source of our creative ability. To further tap into that fragile space I have taken up the meditative practice of daily ink gestures know by the Japanese as hitsuzenso.
The encaustic monotype is my primary medium.To create a print, images are drawn or painted directly onto a heated palette with pigmented beeswax and then imprinted onto paper. The benefit of this technique is its immediacy, fluidity and ability to create nuanced layers of deep or translucent color.
It is my hope that by embracing the alive, intimate and immediate act of painting, I can offer the viewer a moment of transience.