The decorative results of ornamentation and the innate harmony of geometry are the foundation of my artistic exploration. Attention to the surface allows for a wide range of patterning effects as well as investigations of color and scale. My color palettes reflect different historical artists such as Hokusai, Winslow Homer and William Morris and my selection of patterns seeks to be relevant to the artist or at least an appropriate cultural time frame. This is however always meant to be evocative, rather than explicit. The juxtaposition of a thoroughly modern material with historical referencing brings the past to the present and the present into contact with the past. The inherent balance of most geometric form offers classically derived structure for my richly adorned surfaces.
CraftNewYork, New York, NY, March 30-April 1, 2012
ACC- Baltimore, Baltimore, MD, February 24-26, 2012
CraftNewYork, New York, NY, April 1-3, 2011
Philadelphia Museum of Art Craft Show, November 11-14, 2010
About polymer and techniques:
Polymer is a relatively new synthetic modeling compound. It is similar to acrylic paint but in a solid form. Polymer comes in a full spectrum of colors, but my color palettes are custom blends. Because of their mutual compatibility, polymer creates a permanent bond with the acrylic pigments I apply to its surface. It models like clay, drapes like cloth and fires at a low temperature into a strong and durable state.
Many of my specific techniques are related to those used for fabric. Using handmade silk screens and block imprints, I print long, thin sheets of color blended polymer with acrylic pigments. I also can create patterns with image transfers. Often several techniques are combined. Each swath of patterned polymer becomes unique unto itself. This ornamented expanse of polymer is then used alone or in conjunction with coordinated sheets to create individual pieces. My methods of construction often involve layering, folding and weaving which serve to enhance the textile-like effect.