Artist Statement - current movement & thought - how I create

My artistic process continues with my ongoing experimentation and study of the movement of line and definition of shapes and edges within the space of each of my compositions. 

I study 3D objects of all kinds, especially those from the mid-century modern building architecture, which is important as a comparative in assisting my work towards translating multifaceted objects and shapes into 2D. I am especially interested in the art form from the Suprematism art movement, founded by Ukranian born artist, Kazimir Malevich around 1913. His work had a focus on basic geometric forms, such as circles, squares, lines, and rectangles and painted in a limited range of color. I strive to create each piece so there are both elements that seem to float on the canvas and ones which seem grounded by extending lines off the canvas and around the sides in a space where these lines are no longer visible. At some point in the build of each composition, I like to add a few oddly placed skewed and off-centered lines, dashes, or shapes in and outside the design area in an attempt to disconnect the flow. I especially enjoy any blank space within the work, as I feel it is in these isolated spaces and off-centered lines that have a strangely exciting and enticing effect - it is because these spaces can allow for a moment of detaching and creating stillness, which creates a kind of void in an area that allows a pause to breathe before starting the movement once again.

I am painting using Flashe vinyl emulsion paint, a water-based vinyl paint with an extremely flat matte finish. Flashe paint was often used in the 1960s for fine art, illustration art and stage scenery. The matte finish of Flashe paint makes each piece look as if it is printed instead of hand painted.

I enjoy a pace of painting that creates clean and simple compositions as I feel this creates a balance in the often messy and complicated times, we live in.

Winsome - acrylic/oil pastel on canvas  - 14 in. x 18 in.



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