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 artist statement 

By definition field notes are qualitative notes for research based on observations. This work is an explorative series in media, process, and abstraction with underlying themes of human/nature interactions. Experiential attachments and memories associated with nature, landscapes, and travel drive these abstract compositions. Thus, being a reflection of the human interaction with the earth, the work is inspired by the colors of nature and the organic properties that emerge organically. Starting with a pour of saturated pigment, the paint initially flows and expands on its own accord, with a human nudge here and there until it cures and dries into the substrate. The hard water lines, the overlays and natural mixtures of two colors meeting and coalescing into one another create a new hue both pleasant and muddy, like the earth. Sometimes these mixtures are aesthetically pleasing and harmonious while others are stark and invasive. I explore the idea of nature versus human, and also the idea of human nestled harmoniously within earth's natural beauty. Sometimes these human and nature interactions are pleasant, and other times destructive. This reflects through the artistic process of free-flowing paint mixing with the intentions of the artist.


Perhaps blue and orange become a muddy brown, or red and green taking on hues representative of pollution and runoff in nearby bodies of water – like a bleeding earth. My reactions to such pours, now dry, and the decisions I make – to cover, mark-make lines or pattern, apply texture, obliterate areas, or to leave it as it is – are akin to observing a natural landscape, or a landscape marked by human presence. Some pours remind me of an expansive, unadulterated landscape, untouched by humans. Some pours ignite a response that urge me to engage and expand upon shapes and colors, to highlight and play and continue the process, taking this ephemeral first layer and highlighting the magic moments but still maintaining its integrity. I play with the boundary of pushing works too far, overdoing it by completely destroying the first layer, the first pour, the land and nature that initially inhabited that space. It cannot be easily resurrected, like a large metropolitan area that has overtaken and billows out into the spaces surrounding. In the expansive wall installation, recycled vinyl banners are cut into organic shapes and overlaid to create harmonious compositions. The banner work represents not only the man-made materials and how invasive they can be on a natural environment but how they can work in harmony and mirror the natural beauty.

As humans evolve in our modern society and tap voraciously into the earth’s resources, I ask these questions: Do we claim the land as our own and pit ourselves against the natural world? Do we leave it as is, pass along with care, as mindful visitors and enjoyers of the beauty? Do we reflect on our relationship with earth at all? These artworks represent an abstracted view of our footprint both the natural and beautiful with the artificial and chaotic.

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