Over the last several years, my paintings have dealt with lush representations of nature, fertility, and sensuality. While a cornucopian nature continues to be the overriding theme in my work, I’m also interested in current environmental issues and how they affect our landscape and our natural resources.
Beauty in animals, art, and nature fascinates me and I exploit it in my work. While at the same time, I recognize that the underbelly of these things is often frightening and grotesque, and I like this as well — I find this contradiction deeply complex and intriguing, especially in its relationship to human behavior and how we perceive and treat nature. I strive to incorporate this paradox into my work with the myriad elements that I apply to the painting’s surface, such as glass and plastic beads, glitter, Austrian crystals, and thick layers of glue, as well as the painted subject matter. Since 2008, I’ve been making the “cut-edge” paintings, but my recent surfaces have migrated back to a straight-edge format, where I’m drawing and painting the flamboyant elements of the laser-cut edges into the rectangle.
Some of my stylistic references are to art history, including the Renaissance, Baroque, Victorian decorative art, Romanticism, and antique botanical imagery; these influential art movements, combined with my own concepts, elicit painting compositions that are seductive visual feasts of fruit, flora, wildlife, and beauty laced with brooding undertones.
42 Bartlett Street