My fascination with museum artifacts as objects or subjects of still life paintings has led to an exploration of Greek and Roman art and the perplexing logic embedded within it.
In the studio, my process often informs the logic behind the construction of the work. As a way to address my limited access to ancient Greek pottery and sculpture (in a 3-dimensional sense), I utilize photographic images from books. The book itself or some representation of the images within the book become the subject matter for the still life, re-introducing these objects back into the third dimension and allowing me to paint perceptually from the set-ups.
Moving between 2-dimensional optical illusion patterns and 3-dimensions also becomes a way for me to explore the space between these dimensions, as building the scaffolding for the still life is a necessary step in creating a specific stage for the objects. In my work, I try to locate a specific point that can exist between two seemingly opposite concepts and through identifying that point, the work can fluctuate between the common and the exquisite, representation and presentation, graphic painting space and illusional space, and painting and sculpture.
Most recently I have been considering the notion of seeing as a 2-dimensional experience and thinking about the space around me or the still life set-up as a flattened space (as if behind glass). I am currently exploring ways in which to affect or “touch” what I am seeing through the use of projected light on the actual still life as well as including elements in the work that try to exist on the surface of the painting.
In the studio, my process often informs the logic behind the construction of the work. As a way to address my limited access to ancient Greek pottery and sculpture (in a 3-dimensional sense), I utilize photographic images from books. The book itself or some representation of the images within the book become the subject matter for the still life, re-introducing these objects back into the third dimension and allowing me to paint perceptually from the set-ups.
Moving between 2-dimensional optical illusion patterns and 3-dimensions also becomes a way for me to explore the space between these dimensions, as building the scaffolding for the still life is a necessary step in creating a specific stage for the objects. In my work, I try to locate a specific point that can exist between two seemingly opposite concepts and through identifying that point, the work can fluctuate between the common and the exquisite, representation and presentation, graphic painting space and illusional space, and painting and sculpture.
Most recently I have been considering the notion of seeing as a 2-dimensional experience and thinking about the space around me or the still life set-up as a flattened space (as if behind glass). I am currently exploring ways in which to affect or “touch” what I am seeing through the use of projected light on the actual still life as well as including elements in the work that try to exist on the surface of the painting.
