Wednesday, September 14, 2011
As I use vivid colors, patterns, textiles, and acrylic paint, I am reminded that I am decorating a space, unconcerned with displaying any depth or three-dimensionality in my painting surfaces. Rather, my goal is to visually change objects and forms deemed ugly or untouchable by society to suit its standard of what beauty is and to make a statement about the manner in which we decorate ourselves, covering up what is already there. My sculptural monsters convey this idea more strongly than my paintings. Possessing sharp clay teeth and pointed wire claws, they are decorated in such a way that they appear lovely and festive, not at all our typical inference of what monsters should be.
My painting process begins when I take various objects, trinkets, and textile designs and pick out pieces of each form, melding them together until I have settled on a satisfactory composition. I then jump into the painting, using whatever vivid colors I feel would complement each other. It often requires several layers of paint to achieve the flatness and clean edges I enjoy and a natural de-stressing occurs with all the focus I put into handling the paint in this manner. In the middle of a painting, if I feel the relationship of objects in the space is not working, I tend to block out that area by covering it in circular or organic pattern work.
When a piece is going well, I am filled with a sense of relaxation and a comfortable ease with a complete lack of tension. I see these paintings as therapeutic in that I find myself becoming detached from all the stresses I feel every day and I can disappear into a place that is fun, bright, and joyous. My sculptural and painting work share similarities in that they both focus on aspects of strong ornamentation and the exploration of what beauty is and what makes something attractive to the eye.