My work is driven by my desire to investigate the mind through art.
I feel that paper is the most responsive material for investigating mind through art. In 2013, I added the technique of collage using drawing and painting on paper as the collaged elements. Our active mind creates collages of thoughts and patterns, as in a dream. If we examine our thoughts, we can see they are fragmented pieces, empty of solidity. My studio floor became covered with a vast tapestry of painted paper—ripped, aged, and often walked on for days or months. This allowed the process and rhythm of art-making to come more alive with spontaneity and unpredictability. I discovered a rugged, earthy, hands-on, living quality in working with ripened, ripped pieces that were incorporated into carefully considered drawings and paintings. Finding the exactly serendipitous piece of paper feels like finding a treasure —the one particular color or texture that will work in some way within a piece in a still unfinished puzzle. This process of inviting unforeseen happenings and finding the unexpected helped me avoid reliance on preconceived ideas. The treatment of the paper lends to it an inherent living quality. Depending on the passing of time and light, it takes on various characteristics and a quality of accelerated impermanence as the paper ages and becomes fragile, not unlike those things we search for and cherish in an attic or basement, or even at an archeological site, or when retrieving a lost memory. An otherwise ordinary, insignificant quality becomes special. A fingerprint, wrinkle, rip, drip, or tear becomes texture and language. These abstract contemplative works were developed with the view that art has the capacity to infuse our experience with awareness of our inherent nature, and, along with their carefully chosen titles, invite viewers to move beyond the boundaries of the image into a more contemplative consideration of mind in relationship to the phenomena of what we consider objective reality.