I make decorative, feminine paintings that teeter between craft and art. I engage in creating the pictorial illusions of space found in traditional landscape and still life paintings, playing flat forms against organic color fields. The work is formal, taking pleasure in color and pattern while using nature as a source of abstraction. I amass an excess of material to create densely ornamented, at times chaotic pieces that reach a critical mass of chroma and pattern inviting the viewer to revel in these formal moments.
I hand-cut paper and build these works using a variety of processes. The act of hand cutting implies a sense of time while the tradition of paper cutting is intimately connected with the history and reverence for the material. Paper is traditionally regarded as a craft item or a substrate where art is created; I use paper to construct the piece itself. The paper forms are then compiled, creating a frenzy of shapes and objects that act as marks. By amassing the individual cut forms I dismiss the care and attention I’ve paid to each component. This acts as a metaphor for consumption and excess.
The decorative pieces have a self-indulgent frivolous nature reminiscent of the Rococo, reflecting a visceral appeal aimed at the senses. My aggressive use of color combined with the handmade ignites desire within the viewer while creating frustration by denying the satisfaction of seeing the whole form, negating clarity through excess. All these components coalesce into a revelry of color, pattern, and materiality that simultaneously celebrates and negates the handcrafted.