The body-scale acrylic paintings are made on raw polyester using sculptural tools modeled on bamboo ink pens. Surface densities range from absence to thin washes to heavy sediment. A conscious process choreographs rhythms of body, breath, and drawing.

Through visual poetic translation, the work explores the sensation of looking as the sensation of being. The forms are based on direct observation, over years, of an environment constructed in the studio out of materials related to texts, such as mirrors for Clarice Lispector’s Stream of Life. The current environment suspends in air, referencing Charles Olson’s postcard “Whatever you have to say, leave/ The roots on, let them/ Dangle/ And the dirt/ Just to make clear/ Where they come from.”

Other current sources are The Uses of The Erotic by Audre Lorde; Logic of Sensation by Deleuze; and Empty and Full: The Language of Chinese Painting by Francois Cheng.  Past sources include The Sight of Death on Poussin by TJ Clark, The Poetics of Space by Baudrillard, and The Life of Poetry by Muriel Rukeyser.

The work builds on the lineage of landscape painting; the historical relationship between word and image; the reclamation of Lyrical Abstraction; and the rise of drawing based painting. At play is a contemporary excavation of art historical issues around line, light, and kinetic touch.

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