|Educare 2003 Private collection|
Here's a snapshot:
Describe the nature of your work, its content and/or meaning including how it has evolved over time and what technical, cultural or other details will aid in its understanding.
In the early 1980’s the mark became a significant aspect of my process. As content, the mark represents an affirmation of being, an awakening to wonder and a record of consciousness. It is a persistent concept through the various investigations in my practice.
Following a residency with Miriam Shapiro in 1983, I began a brief investigation of identity with the figure as a subject. Vigorous charcoal marks on large sheets of paper surround an anonymous female figure grappling with an inherited hierarchy. The drawings visualized my claim to identity as an artist.(1-3)
In 1990 the endangered Florida Everglades renewed my interest in landscape as content. The mark articulated the infinite and lively expanse of the Everglades while a black pool and red sky suggests finitude. (4)
In 2000 I moved from landscape to explore a space defined only by shallow fields of color interacting with a screen of marks. Emptiness, ambiguity and spatial conjecture characterized these gestational works. (5-7)
By 2007 I was making large-scale paintings crowded with colors that competed for attention. (8-9) The scale and congested compositions became overwhelming so I retreated to making small works. The smaller works from 2009- enabled me to define and understand the nature of the space I was seeking. (10-13)
The new paintings trace the relational aspects of abstraction both across the surface and within a deeper space. Each painting contains a set of relationship that interact on a ground that advances or retreats in relation to the brush marks. I work to subvert expectations in a process that allows for a fluctuating reading of what I call an abstract narrative. The relational aspects function as a coming into being. (14-20)
Now the wait begins. Announcements in June.