Bodies of Water
The Bodies of Water series depicts the interior landscape of the mind through gestural poses of the figure. Humans can instinctively intuit another’s mood through the observation of posture and position -- the slump of the shoulders, the ease or lack thereof in one’s gait, the look in one’s eyes, or the way someone is listening. Despite all of these cues, we often ignore them and allow language and communication to supersede this visual understanding.
This has become truer than ever nowadays as much of our communication is via the internet, where body language and tone of voice have been replaced by oversimplified digital attempts of equivalency. In this age of discord, these works explore how common feelings of isolation have become, despite the veneer of connectedness through social media.
All of these paintings depict a lone figure. I use this device to point out that we can only experience the world through the venue of our own bodies. While we may be in the same room together, our bodies have entirely different senses of reality – one sees blue, the other green, one is cold, the other hot, one in pain, and the other comfortable.
One cannot step into the same river twice. Although it is the same body of water, it is in constant flux. I feel the same is true of ourselves: we might appear to be the same person, but we are constantly changing as a result of time, our experiences, our moods, and even our chemistry. The title of the series plays on the fact that we are mostly made of water ourselves.
I create each of the Bodies of Water paintings by laying down a few strokes on paper. I let the focus of my eyes go soft and I begin to see a loose silhouette, sometimes they change position before my very eyes. I employ additive and subtractive methods to carve a figure from the pools of water, helping the figure I saw to emerge from the chaos of the wash. I consider the negative space around the figure as an important resting area for the eye before delving into the figure and making sense of it.
Twists and Falls
Nature provides countless symbols through which the artist expresses truth, meaning, and can explore the interior landscape of the self. One example is the mysterious and unpredictable tornado, which has captured the imagination of many, including mine. Much remains unknown about how and why tornados develop. This scientific mystery adds to the allure of these dangerous and all-powerful storms.
Twisters embody a terrible beauty, not only because of their deadly potential, but also for their colors, forms, and movements, which are violent and magnificent. Their unpredictable nature and singular paths make them appear to posses a will of their own. Tornados seem to keep their own counsel, choosing to spare or destroy upon a whim. The incredible destructive potential of these storms force us to acknowledge how small and powerless we are, despite the illusion of control we foster.
For me the twister has come to represent the chaos and irrationality of our emotions and the uncertainty of life. At times we are surprised by the depth and breadth of our emotions. We are swept away by anxiety, anger or passion. We become swirling masses of emotions that cast detritus upon unsuspecting bystanders.
Simultaneously, the twister symbolizes change and forward momentum, which in times of personal stagnation can be the very catalyst we need. When a “tornado” has passed through the landscape, both real and figurative, has been cleared. Something new can now be realized. What positive outcomes could be affected if the power of a “tornado” could be harnessed?
Map For the Eyes
When I look at trees I see human figures filled with emotion, twisted and pulled in seemingly impossible directions. Trunks act as spines. Branches extend out in all directions like arms. A protuberance becomes the thrust of a hip. The anthropomorphic qualities of trees are especially apparent in winter, when they reveal their true underlying forms, their skeletons. But as of late I also see my own angst. My sojourn in Buenos Aires has been fraught with the prospect of losing someone very close to me, and as a result the incredible trees of this city have taken on even more dramatic roles in my mind. Sometimes they appear as figures with hands reaching out imploringly or cradling the self in protection, other times they are abstracted elements of human anatomy such as arteries, veins or nerves.
In winter the naked branches become a map for the eye to follow through the emptiness of the sky. As such, in these works I've focused on balancing positive and negative space, playing emptiness and fullness against one another, and providing places of great detail and nothingness in contrast. My palette, which ranges from browns to greys and greens with the occasional blue, reflects the colors of Buenos Aires as I see it.
The paintings in ‘The Wayfarer’ series are about contrasts, push and pull, and charting a course where possible whilst accepting that control is an illusion. They are about making plans in the face of uncertainty and seeing light within the dark. The Wayfarer reacts to and makes her way through lands of darkness and light, fullness and emptiness, lightness and heaviness, being pushed or pulled in an unpredictable environment.
The support upon which the series is painted is a synthetic paper called Yupo, which is made of Polypropylene, a thermoplastic polymer. Yupo is a surface that resists watercolor rather than absorbs as with traditional watercolor papers. Pigments on Yupo separate and move when saturated, thus rendering a state of controlled chaos in the paintings. The chaotic nature of the technical aspects of these works also acts in part as their subject. Additionally, certain non-staining pigments can be removed entirely, making subtractive work possible. Time, temperature, and gravity also play an important role.
The silhouette is a different way to look at the human body. Everyone’s silhouette is unique, yet without interior lines giving us a sense of a person’s features it becomes somewhat anonymous. The anonymity allows the viewer to relate to the emotional state rather than focusing on the appearance of a particular person.
I use the silhouette as a framework for the interior and emotional world that is contained within our minds and bodies. We interact with one another while never really knowing what is going on the inside. I also find it interesting that we are so intimately involved with our own bodies yet we have no idea what we look like on the inside, visually we only see the exterior; we sense the interior. What do our emotions look like?
The paintings in the silhouette series function as shaped etching plates would. The painting is contained within the silhouette much as an etching is contained within a plate and is surrounded by the white of the paper. In the case of etchings white space is completely acceptable. In a painting, it is unexpected. Furthermore, one expects to see a figure within a background, I am more interested in that which can happen within the confines of the figure physically and symbolically.