Painting is a deeply personal exploration for me, a freeing counterpoint to the more cerebral work I do in the rest of my life as a documentary filmmaker, producer and project manager. In my studio I enjoy the immediacy and messy, visceral process of making marks – working with color, line and form using a variety of media.
Each composition takes shape through a kind of call and response – an intimate conversation between the canvas and the materials I work into it: bold and opaque shapes and colors; drips and watery washes; scribbles and scratches; fragments of discarded paintings; ticket stubs, receipts, messages left on the kitchen counter as well as written words and graphic elements taken from journals, sketchbooks and the detritus of daily life.
In my paintings I explore the idea of “sense of place” and all its myriad layers of meaning. What has evolved is a kind of mapping or cartography of experience that has both geographic and psychological dimensions to it, working with metaphors that hold emotional meaning for me — horizons, openings and portals, bridges and border crossings; nests, bowls and vessels.
My work as a painter has evolved alongside and been influenced by my experience as the mother of a child with a developmental disability. As a mom, I’ve been immersed in the world of non-verbal learning and communication, fascinated by the mysterious process of language acquisition and the ways in which language informs intelligence, perception, and meaning. In recent years I have been developing a body of work using collage materials drawn from years of accumulated educational and aptitude tests, work sheets, homework, and my daughter’s marks and artwork. Working with these materials as collage elements allows me to reconfigure/reclaim and place the ripped and torn fragments into different constellations, giving them their own unique presence while adding texture, dimension, and personal content to the work.