Conceptually my process envisions still life as a dynamic relationship. Including a subject (an arrangement of things) and the artwork made from observations of it. Elements in my process are interchangeable and drawing from perception is the foundation of this language.
Into the Fourth (drawing for series, =Reality, Greater Weight of Water, Sister, Allies I-V, and Home), graphite on paper, 10 x 12 inches, 2018
This language includes reimagining iconic references from art history in new contemporary form—some of which include: Claude Monet’s Water Lilies for the Musée de l'Orangerie, 1914-26; Josef Albers’ series Homage to the Square, 1950-76.
Into the Fourth (drawing for series, Sister, Home), graphite and color pencil on paper, 7.5 x 10.5 inches, 2018
Into the Fourth (book for series, Sister), acrylic on paper, 5 x 5 inches, 2018
Into the Fourth (drawing for series, =Reality), graphite, color pencil, acrylic on paper, 7.5 x 10.5 inches, 2018
When I experienced how the virtual can be guided by the same thinking process I use in the studio with paint and still life, a new world became relatable. Returning to the studio after working in VR became a process in how to reimagine the conversation between dimensions that technology presents within a process based on our oldest means of expression—drawing.
Into the Fourth (drawing for series, =Reality, virtual reality), graphite, color pencil, acrylic on paper, 7.5 x 10.5 inches, 2018
Into the Fourth (drawing for series, Greater Weight of Water -- Jan Frans Van Dael, Vase de fleurs, raisins et pêches, 1810.), graphite on paper, 11 x 16 inches, 2018
A postcard of an artwork can become the arrangement (a set of relationships I base a series of marks on in painting). The painting can become part of an actual still life. Drawings are arrangements of marks and can be still life. In these examples I’ll source color, tone, line-quality, negative and positive space, geometry, concept and scale from a selection of reference points existing in my own drawing/s or sampled from art history. I sourced my colors for the series of paitings for Into the Fourth from this late-dutch floral painting.