Inspired by locations I have been, these environments tell a complex tale of transitions and placements. Their stories are individual but binding to the places that have resonated with me.
Started at my residency at the Affordable Art Fair, Amsterdam I completed Wiegracht with a reintroduction of my scrambled text. I created the alphabetical key about 20 years ago to use text as an artistic element with the distraction of reading. (all pieces come with a decoder ring)
98 x 80 cm
I just could not get this orange fire bright enough - I want the eye to sweep into it and burn there.
70 x 60 cm
I walked along this canal one day this summer. There is a small side park between the street and canal that has a willow tree. its long thin branches touched the grass. It made my day, that tree. I can feel it here.
70 x 60cm
My adjustment to Amsterdam life started when I got a studio space. 'Moving Cotton' is the first painting that really expresses how I feel about the life I have created here. The motion of the canals and structure of the city are vibrant and rich in the compositon - it's definitely one of my favorite pieces.
86 x 70cm
Amstel runs along the east of Amsterdam and though it's not a made canal, the river has been shaped and contained over time. When you follow the Amstel deeper away from the city, you see the land open up around it. Flat meadow like farms and large embankments, it's lovely.
60 x 65cm
Geldersekade is in the midst of the red light district and though I am not there often, it's rich history and reputations are alluring. I struggled a bit with the balance of red to yellow here, but in the end, the mystery and haze that emerges is one that represents the many layers this canal offers.
74 x 63cm
Sometimes a place only exists online. In my online Facebook world, I decided I wanted to make my community there more visible - so I asked for a palette from my peers and with that palette I create this piece. 'Arctic Ice' bridges the gap between my world online and the studio I create in.
66 x 56cm
While I lived in San Francisco for eleven years I moved every two years, each time into more and more compact spaces. I22 symbolizes that movement from space to compact, bright compartments.
60 x 46cm - stretched
Clouds with light behind them are mesmerizing. In this piece, purple worked its way into my sky as well as some organic creatures. I imagine that they are chasing the light the way that we Amsterdammers chase the sun.
66 x 56 cm
I wanted to do a piece that directly expressed conflicts I experienced moving to Amsterdam. The side on the right reflects my deep longing for my family at home, while I offset those emotions to create and build a new life here in Amsterdam. The result reminds me that both missing and creating can happen at once.
92 x 80cm
In my 20's in San Francisco I used to collage a lot in my pieces - they were thick and raw with mediums, gravel and orange peels. When I laid down the base for 'Homey,' I reconnected to that time in SF. The intensity of the colors and thickness of the mediums do feel like coming home.
73 - 57cm
Named after the patron saint of spiders, Saint Felix is a mix of dark and vibrant. It combines the weaving of the spider’s lair and the creature itself. I see it crawling in the lower left - moving and wrapping its web along the way.
30 x 24 cm
Saint John of God - Patron saint of the mentally ill and dying.
In 1537 at the age of 42, Saint John of God had a mental breakdown. Back in those days, treatment for mental illness involved physical torture (some would argue that it's still a popular treatment method). He recovered and went on to take care of the sick and poor and was canonized in 1690. Thank you, Saint John of God, now I know who to pray to when I have one of "those days."
30 x 24 cm
Saint Lydwine - A lively saint here in the Netherlands, Saint Lydwine is considered to be the patron saint of ice skaters. This composition reminds me so much of movements across the frozen lakes. The background and texture keeps the eye engaged in the softer areas and a warm yellow/peach radiates from the top middle of the piece. With so many of my smaller works, the dark blue and green tend to anchor the piece and create a sense that the movement comes from somewhere that we can't see.
Acrylic paint, glitter and sand mediums, 24 x 18 cm
Since I enjoyed working within my Online community for 'Arctic Ice' I opened up the request again for another Group Palette on Facebook. This sunset scene feels like it comes right from the park by our house, I see people relaxing, birds in flight and even a few watery pools. It was a great experience to create from the community again.
66 x 50cm
There is a thick mapping underlayer in this piece that makes me remember what it was like to live in San Francisco. The connected transit lines, the small green spaces and foggy summers. I see that I am trying to connect the lines here in the experience of that city.
46 x 46cm - stretched
Sometimes I create a painting from a purely emotional space. These pieces reflect an instinctual and raw side of my nature as an artist. They do not want to be balanced or pretty. They want to be their own expressive space - free from constraints, and in that way, utterly cathartic.
There’s a bit of gesture here in the bland color that looks like a passive sort of graffiti. Though the palette is subdued, the texture and shine of this piece keeps the eye moving.
88 x 95 cm
I fought with this composition for many many months. I layered paint and took it away many times. This happens from time to time with a piece, but as long as I am patient it seems that there will always be one day where the pieces snap into place. 'Overtime' found itself after I surrendered to the process and gave it space.
70 x 40cm
This painting is a good example of when I let go to the mood of the moment. After struggling with this composition, it finally had a day where it took over and completed. Even though there is 'Panic' here, I still see the pockets of relaxation.
75 x 42cm
'Dump' began as a place to put extra paint - and with that detachment it developed its own layers, shape and motion. It makes me dizzy when I look at it too long. It is purely self-driven, I just followed - that is the signature mark of the Raw Series
144 x 136cm
Kitchen Sink came from an impulse to create a piece with deep thick color and use of black as a dominate player. The layers and movement are chaotic and intense but the more I live here, the more I love it. It feels like my man-cave.
95 x 93cm
A monster’s arm descends into the pit, unraveling spools of well woven thread from the center.
20 x 20 cm
I was very moved after seeing the Miro exhibition at the CoBrA museum. My next visit to the studio I created the base to this piece, it seemed out of place from my other work, but as I stepped away from it I see some of the common Miro-esque shapes that emerged and feel it's a direct connection to my exposure to his work.
40 x 35cm
I was a bit manic on the day I created this piece so I let the act of painting come from that emotional state. 'Crooked Crops' took over and wowed me with it's power and intensity. I feel it represents all of my unbridled passions.
73 x 90cm
I have created a coded alphabet that allows me to journal into my work without having the words recognizable. This piece is one giant journal entry on a day I discovered that windows open when doors shut and that I just need to be willing to fly. It was a good day.
144 x 67cm