Painting is a critical element in a larger art practice of material exploration
that is rooted in domestic craft and rote hand-making traditions
that is rooted in domestic craft and rote hand-making traditions
Expanding the possibilities in painting, these colour fields are created by working the paint into textile-like skins of pattern and texture that are then layered. This improvisational method is an adventure in physical logic and logistics, of an ‘if not this then that’ trial-and-error approach of many iterations over many years. The resulting fields of multi-layered colours and patterns aim to seduce the viewer into considering that which is both restful and restless.
Each painting represents the sometimes meditative, sometimes endurance-testing skills in domestic fibre arts. Failure is an intrinsic part of the process, a personal challenge to stay with the work, to persist. It is rooted in feminist art that monumentalizes the patterning of the everyday, a challenge to make the invisible visible.
This ‘focus on focusing in’ is a personal reaction to our pervasive culture of distraction. It is both hard work and play — with materials and with ideas of mathematical patterning and the many functions of art and craft.
Each painting represents the sometimes meditative, sometimes endurance-testing skills in domestic fibre arts. Failure is an intrinsic part of the process, a personal challenge to stay with the work, to persist. It is rooted in feminist art that monumentalizes the patterning of the everyday, a challenge to make the invisible visible.
This ‘focus on focusing in’ is a personal reaction to our pervasive culture of distraction. It is both hard work and play — with materials and with ideas of mathematical patterning and the many functions of art and craft.
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