The painter and the paint. A relationship of witnessing within time and memory. Entering the maze of color, line, shape and texture and finding your way to some sense of precision, that is what happens. Memory and qualities of moments past skitter across consciousness, and may land, or more often, suggest something else. That may land — if you see it — if not, then just keep looking.
About
In my early 20s, I studied art formally at Pratt Institute in Brooklyn NY, and at Arizona State University. Studying sculpture, I became curious about the functions played by art in society and vice versa. I faced into the question of trying to reconcile what I was seeing in the world — notably its vast social inequalities — with my own experiences.
For my senior thesis project, I choose to express my deep sadness and dismay that Nelson Mandela had been in jail in South Africa for my whole life. I created a sculpture installation that juxtaposed these two realities, side by side. (See below for more on this work). After engaging in political art projects for some years in San Francisco, I eventually turned away from the making of things and how they relate — and opted for working as a healthcare professional. Now, with a chunk of life behind me, I am returning to my roots in fine art, finding a renewed interest in the formal aspects of painting. The value of formalism is that it provides, me, the artist, with way of being in the world that incorporates the whole.
