First Impressions

Installation View of Attractive Nuisance.  Left to right: “Lydia, Traveler of Time”, Oil on Board, 2016; “Lydia IV”, Nontoxic Photo Intaglio Monoprint with Chine Colle, 2016
“Lydia IV”, Nontoxic Photo Intaglio Monoprint with Chine Colle, 2016
Installation View of Attractive Nuisance.  “Professor’s Blessing”, Oil, Acrylic & Multimedia on Board, 2016
Installation View of Attractive Nuisance.  “October Scribbles: Fragmented”, Ink on Paper, Glass, 2016
Installation View of Attractive Nuisance.  Left to right: “October Scribbles: Fragmented”, Ink on Paper, Glass, 2016; “Let Me Tell You My Life Story”, Oil on Board, 2016
“Let Me Tell You My Life Story”, Oil on Board, 2016
Dana Series: Monoprints, Nontoxic Photo Intaglio Monoprints, 2016
Dana Series: Oil, Oil on Board, 2016
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Lydia I’, shown at Rochester Brainery’s New Work Show, January 2016
Movement is key in my work as it provides me with rough, raw, and vivid imagery. A gestural image is the most genuine; it captures a moment. As an artist I reflect my memories and deconstruct them into abstractions. The process of my work is very important to me, through it I see the story of shape, line, and the manipulation behind each form: pushing and pulling into an abstracted image. Small details appear and fade amidst fields of color, similar to how memories alter over time.
The brain does not recall every aspect and detail, and many times perceptions change.  My triggered memories are always gestural, for this reason I would like to present my artwork in such a fashion.
In this group of work I have chosen to focus on portraits of individuals and discuss my relationship with that individual.  “Lydia Series” and “Let Me Tell You My Life’s Story” are based on a brief moment of interaction or a first impression. Fast and loose I created an image, from which I dissected into various forms of color, line, and shape; pulling apart the first glimpse of a character.  After time has passed I revisit my gestural drawings and as a test of time embellish upon them in a different manner, in order to understand the manipulation of a memory.
Then there are those with whom I am building relationships.  “Professor’s Blessing” and “October Scribbles” are both based on of learning and establishing relationships with others.   Built over time, much like any relationship, “Professor’s Blessing” is a discussion on the tie between professors and students.  As a representation of many experiences my fellow students and I have had I wish to honor a professor’s encouragement, their blessing while  representing their weaknesses.  They must look out for the thriving artists they are teaching, they must look out for themselves as an instructor and as an artist themselves.  Are they respectable, are they clowns?  Are they providing us with the breadth of their knowledge?  Are they viewing us as competition?  Do they prepare us for the world?  Deconstructing the character of a professor is a challenge, they are powerful models, students owe them their respect and gratitude, but if that is lost, what do you see?
“October Scribbles” is the deconstruction of a loved one.  Slowly abstracting his face into the most minimal of scribbles, it tells the story behind the slow growth of becoming familiar with various qualities and levels of an individual.  Each interaction brings a new thought, a new discovery and a new impression.  As you get to know someone you learn and slowly dive deeper into understanding the individual, each side a new quality and quirk is found.