About the Work
My paintings are succulent in color and reductive or repetitive in composition. The grid provides an underlying structure for much of my work. Its textile sensibility comes courtesy of my DNA, as I am the great granddaughter of a weaver, the granddaughter of a tailor, and the niece of both a dressmaker and a lacemaker.
Installation of Silk Road in solo exhibition From Dawn to Dusk, at Odetta Gallery, New York City, 2019
Silk Road is chromatically juicy and compositionally reductive. I refer to it only partly tongue in cheek as “lush minimalism.” Each painting in the ongoing series is a small color field composed of layers of translucent wax paint. The series, which I began in 2005 and have worked on for some part of each year since, was inspired by the shimmery quality of iridescent silk, hence the title, but has evolved into a more expansive exploration of hue and surface. In plying a richness of paint against a limited palette in each painting, I aim to set in motion a small-scale dynamic in which more and less jostle for primacy. Working sequentially allows me to develop a number of chromatic ideas, each discrete, which converse well in groupings and grids. I've limned the perimeter of each painting with a complementary, or complimentary, hue. My intention is to enliven the color field while at the same time creating a visual spark that jumps the eye from painting to painting.
The first five Mezza on the studio wall. The series comprises 25 works,
from 30 x 22 inches to 14 x 11
Mezza is the third of three series on paper produced during the pandemic. Mezza means “half” in Italian, an obvious nod to the way I divided the field. Working with two halves is a chromatic challenge, because not only do I need to make each half work on its own, but both halves need to work together visually. In the darkest days of the pandemic, especially, has been a joy to be surrounded by such lush and uplifting hues. Mezza consists of three sizes: 30 x 22 inches, 20 x 14, and 14 x 11. The paper (which I used as a full sheet, as well as halved or quartered) is 300-pound Arches hot press, which has a velvety surface. Its substantial thickness is sufficient to absorb the water media I used—gouache, watercolor, and wax emulsion—without buckling.
Installation of Vico on my studio wall. Twelve from this series of 27 have gone to a private collection on Boston
Vico is a new series, completed in 2021. Worked in oil mediums (oil stick, oil pastel) on prepared handmade paper, it is an exercise in color, material, and process—a celebration of life beginning to return to normal after a pandemic year of relative isolation
Installation of Riz on the studio wall before individual pieces were sent to galleries in Atlanta, Chicago, and New York City
Image below: Each Riz comes in its own portfolio
Summer is my time to work on paper, but with the pandemic I ended up working on paper for most of 2020 and 2021. Riz, so titled because I'm working with hoRIZontal bands of color, is the first of three series I produced during this period. These paintings are oil on handmade paper, each 14 x 14 inches. There is no "meaning" here, just a chance to visually dive into deep, rich, color. Each painting comes in its own portfolio.
A selection of Joss on the studio wall
Chromatic Geometry 13, 2013, encaustic on two panels, 24 x 48 inches
Swipe 14, 2016, oil on 300=lb. Fabriano hot press, 30 x 22 inches
Soie 10, 2010.gouache on Rives 140, 22 x 30 inches
Diamond Lattice 25, 2012, graphite and micaceous oil stick
on Fabriano 300 lb. hotpress, 30 x 22 inches
Silk Trail Prints
Silk Trail 342, ongoing series, unique digital
print on 11 x 8.5 inch archival paper