Within and Without
When the curator Diana Roberts suggested that I consider a show at Musical Bridges Gallery I didn't falter in saying yes, but as the end of the year approached and the deadline came closer, I began doubting that I could finish three new large paintings. In fact, I had only finished one in 2019.
I was close to calling her to call it off, but instead worked out a plan for putting in more hours. I arranged my schedule to be sure I got at least four hours of painting each day. I installed studio lights so I could work into the evening hours. At the end of each painting day I looked at the status of the three canvases. I envisioned these paintings before I fell asleep. This allowed my brain to work on them at night. Many nights I was awakened with a solution to solve a composition or color issue. This process allowed me to jump right in at the start of
the day with a plan for proceeding forward.
This process taught me to trust my painter instincts and to trust the successes and failures of each day because ultimately they led to finishing the paintings.
The show is up. I am sharing the space with sculptor Brian Wedgworth. This is my first time to show with a sculptor. Both of us have the common distinction of having gone through the healing process of ridding our bodies of cancers. We have come out on the other side with gratitude, and a deeper connection to our work. His work is as contemplative as mine. We also both use repeating circles in our work.
My new work is on a larger scale than I’ve done previously. The expanded surface allows me to create a monumental affect of small magnified forms. For this show, I have begun looking at specific plants and seeds that are growing in my backyard, although I still allow some wiggle room for the material quality of the paint to interact with my ideas.