Artist Statement
At the end of the last Century, during my fourth decade of life, I discovered a means of accessing my purely “creative” well. Until then, I had solely engaged my “interpretive” design side. I had had virtually no formal artistic training on my way to my MFA in Theatre Design: Scenery and Costumes.
After leaving the Theatre, I was given the opportunity to work in Display for Tiffany & Co. The Tiffany windows were essentially small stages and my design work gained a dimension of personal creativity as I was given carte blanche to entertain and attract the looker. I gained a devoted following for my regular window changes and I grew a personal sense of artistic worth.
My work with Tiffany & Co. led to a five-year gig, doing display work for Fletcher Motor Cars, a Mercedes-Benz dealership. Their new showroom was occupied by four large display cases which I ultimately turned into art displays, inspired by the Mercedes-Benz PR slogan of the day, “The Art of Engineering.” The necessity to change the artwork five times a year became the mother of the invention of my painting technique.
I discovered my painting technique inspired by the physics that enhances the colors of art glass combined with a need for the flexibility and spontaneity of painting. The bonus was that my new process, working on the back side of a thin, clear panel, forced me to relinquish a generous amount of control. This twist allowed me to rely on my intuitive resources, injecting surprise into the process of creation.
The delight of this process, along with the continuing discovery of the possibilities of my technique, drives me down many different creative avenues. Many of these subjects and styles have been barely explored—time is limited, but I am thoroughly enjoying the exploration.
My Technique
My “obverse” paintings are created using spray paint on the back side of thin, clear, co-polyester panels–PETG. They are not “reverse” paintings, in that they are not the product of a backward, formulaic process, but rather the result of a creative “dialogue,” action answered by a strategic, intuitive reaction, generated to be viewed through the clear, color-intensifying surface. My “canvas” acts like a glaze.
Working from behind is not the equivalent of working in reverse.
Using water, static, objects (found or created—to mask or print), and other masks and influences, I determine shapes and textures, building the paintings, color layer by color layer, overlaying textures and hues. I also use solvents to clear and repaint areas or to manipulate the laying-on of colors in acrylic and other media, including inkjet print collage, oil-pastel, nail polish, glitter, and printing.
Each painting is unique—unrepeatable, by virtue of the technique. After completion, the paintings are annealed, giving the surface a “fingerprint,” a final mark of distinction.
As with all pigmented ne art, these paintings should be sheltered from direct sunlight, impact, and excessive heat.