Through color and non-representational forms I seek to create visual environments that foster the silent dialogue of meditation. Combining the subconscious exercise of contemplation with the conscious exploration of color and form, my work embodies a sense of place or being within a non-representational composition. Based on the viewer’s desire to connect with and find meaning within a work of art, the dialogue begins. Viewers either sense the familiar and realize the unfamiliar or embrace the unfamiliar and realize the familiar. The dialogue of meditation can take the viewer from the simple appreciation of color and form to a more intimate discovery of self and being. I believe that abstractions free the subtle and intangible nature of truth from subconscious associations made with the material. “Nonobjective painting keeps pace with this vision: shadows cast by candles, moons, and suns vanish so that a new kind of light can emanate from within the picture’s core.”[1] I want to create work that makes its home in the viewer’s consciousness and accompanies the viewer in his or her process of becoming.
My most recent work uses tension to create seeming contradictions. I juxtapose large, translucent forms with small, dense forms. I use the spatial relationship between the primary forms to suggest both collision and division. Color works with tension to bring the work into a unified and balanced whole. Because my work is non-representational, there is a balance of knowing and unknowing. The viewer can know the forms as they exist, but the viewer must accept the unknown nature of the forms
[1] Lindsay, Kenneth C. and Peter Vergo, Kandinsky: Complete Writings on Art (New York: Da Capo Press, 1994), 213.