PROCESS

PROCESS
I offer two main collections of work. They’re created through involved and elaborate processes, where the results look deceptively simple. Characterized by multiple layers and deep texture, I use high-quality materials and reclaimed fabric to form paintings that are vivid in color and pattern. 

Fabric Collection
Defined by thick texture and bright color, these original paintings are created on wood panels and range up to 24” x 36.”

To create these works, I start by icing a wood panel with thick modeling paste using a kitchen spatula. While the paste is still wet, I use the end of a paintbrush and draw into the medium. It’s a bit like drawing in wet sand. The lines are deep, and the modeling paste masses high around the marks. I then leave the image to dry for over 24 hours. Once set, I use a rag to apply a dark colored acrylic paint such as a Prussian Blue or Burnt Umber, covering the dried modeling paste. Then, like a stain, I wipe it off. The dark paint is left in the lines to emphasize their depth. From here, I add in different colored paint, filling in the composition around the thick markings. I then adhere pieces of fabric with archival gel medium, highlighting various sections of the image. I carefully choose the fabric to complement the final design, not standing out, yet not blending in. No two pieces of fabric are alike. Once the fabric is applied, I leave the painting to dry for another 12 hours. I then use a dry brush to pick up highlights and pull out the original texture created with the modeling paste. The final painting is multifaceted and rich in color and texture.  

Stencil Collection
My stencil collection is graphic, fun, bright and filled with pattern. Each piece can be purchased as an original or as an 8" x 10" archival print. 

For this collection, I start by loosely painting the surface of a wood panel with acrylic paint. I then take reclaimed fabric in various rectangles and squares and create a composition reminiscent of a quilt. Using archival gel medium, I adhere the fabric to the painting. While this layer dries, I design a graphic stencil created from my original drawings or handwriting, which I hand cut out of transparent film. I place the stencil onto the fabric layer, adjusting its placement to find the best composition that emphasizes the color and pattern of the painting.  I trace the stencil design onto the work, then use white acrylic paint to fill in the negative space, covering up the majority of the fabric and texture. The result is a vivid piece of art, where the graphic silhouette allows the base color and pattern to shine through.