I am a painter and printmaker currently living and working in Portland, Maine. For years now in my art practice I have been both interested in gesture and object and the relationship they share spatially in my work. Most of my curiosity with gesture and mark making comes from the pleasure of very quickly creating something that resonates with you and wanting to preserve it. This idea of elongating a quick moment in time is carried into the physical process of painting as well. The shape or mark is made, then re-drawn on the masking, and finally the masking is cut. These steps make for a careful examination of why this particular moment is so enticing, this allows for more time with each shape rather than just attempting to create a mark directly on the support.
The paintings serve as faux spaces in which gestures and shapes sit on the panels the way ephemera, imbued with fond memories, sit in people’s homes. Looking through my sketchbooks for the right gestures, I act as a collector adding items to shelf. Both the collector and I layer items from different times and places. By taking a wobbly line I made today and placing it in a painting with a cylindrical shape I made three months ago, I am able to collage my gestures into a piece with more history than if I had been just painting intuitively.