My fascination with texture and tactility of objects had been developed from the time I was a child. I was exposed to nature in a way that illuminated both the beauty and the grotesque in the world around me. In many ways, I have been trained to observe the natural world with from the inside out as much as I was taught to marvel in the relationships between the microscopic and macroscopic. As a daughter of a scientist, we regularly looked at the world through microscopes, telescopes, and kaleidoscopes. The shifts in experiencing the world through different lenses created a sense of awe and curiosity I am forever eager to experience. It is the excitement of being a child, infused with a visceral sense of wonder and awe.
While my approach to drawing is much like my approach to painting, organic and process-based, my drawings have much more to do with the minutia in the natural world and its relationship to the fibonacci sequence. In this context, this micro and macro relationship spans the entirety of my work. In drawing I am interested in the unfolding of organic growth and pattern. These 'organisms' are drawn with a desire to be understood in a tactile 3-dimensional way, inhabiting a world full of whimsy, fantasy, & peculiarity.
These small scale works are an exploration of where object and painting meet, and the shifting relationship between light and texture. Inspired, in part, by holographic images, they reveal the interplay between different color fields on a dynamic topographical surface, which showcase the dance between shadow and light.
In exploring the boundaries of surfaces and textures, these works represent the fullest expression in a 3-dimensional object space. These sculptures capture a combination of tension and energy in form and color, that is an emblematic aspect in my work.
Developed by letting pools of highly saturated pigments slowly dry on different colored papers, watercolor and gouache are an invaluable part of my process. The sediment left behind is intense in chroma and texture, which resemble the surface of the moon or the boundaries of land masses one might see on the Earth as captured by distant satellites. I then use these as ‘maps’ to layer additional drawing and bas-relief elements. My Deep Ocean series and Sky Atlas : Nebular Formations series are developed in similar ways, while they are in a sense inversions of each other. Deep Ocean was driven by an interest in the availability of light and color in in complete darkness of the deep ocean, specifically bioluminescence. Sky Atlas: Nebular Formations explores the mosaic of the galaxy and all its kaleidoscopic spaces.
Working in Beijing, China in 2014, I was exploring the topography of the textures and colors of my paintings by imaging what a ‘slice’ of them would look like. Smashing and pushing paint and pigment powders between clear layers of Plexiglass in clear, opaque, and mirrored finishes, these works developed marks and patterns evocative of erosion in rivers or the delicate feathered edge of flowers, creating a sense of suspended chaos frozen in time.