How did you get started as an artist?
As a child, my creativity was nourished by my mother. I would flow from cartooning, to sewing, to painting plant pots to greenware molds in ceramics - anything I could in between over the course of my childhood. I truly began to discover myself as an artist when I let a guard down for how I thought art “should” appear. I had a pivoting year in 2015 when I had an undeniable craving to find a voice for myself & a self-proclaimed, “year of the dares”. I felt that I had so much to express & needing an outlet, took to exploring abstract expression using mixed media on large textured paper or un-stretched canvases that lay on the floor. Every day, I allowed myself to work without expectations while intuitively testing a variety of tools, colors, and marks in order to uncover a genuine authenticity. It was during that time in which I would dare myself to experiment in the studio even when I felt uneasy within a process; soon enough I rediscovered how to play in both the studio and out in the world itself. I took to daring myself to connecting with strangers, to asking for my first solo show, to applying into art school on a whim, just to see what would happen.
Themes of playfulness throughout the process while slowing down time remain prominent within the work regardless of what I am creating
What themes does your work involve?
Visually, my recent work touches on expanding my marks into larger, compartmentalized shapes and texture composed using color combinations that are new and exciting to me in a daring type of way. Themes of playfulness throughout the process while slowing down time remain prominent within the work regardless of what I am creating. It is interesting to me how much the world around seems to slow down when one step foot within their studio, which oftentimes can feel like our own little playground - a safe haven, if you will. Slowing down time in order to play across a multitude of dimensions opens up a meditation space for internal dialogue as it touches across experiences of the past, present, future, and daydreams. Like a magic trick, found trust in my intuitive demeanor seem to manifest as visible meet cutes or layering secrets - unrecognizable to most, but rest together as a splay of visual elements. If I had to wrap my theme into a little box, it would be to not take life too seriously because we have one life to live; taking chances even on the smallest levels, has potential to open new doors, windows, or worlds in ways we could only find if we allow ourselves to curiously explore and listen.
One of the ways I pull from this is by practicing to not take myself too seriously in the studio and experiment
What is your source of inspiration?
The unfathomable worlds children create when they are on their own & how they curiously explore. One of the ways I pull from this is by practicing to not take myself too seriously in the studio and experiment, make a mark, see what happens- especially when I think I shouldn’t. Oftentimes paint is wasted but, the excitement in the time and experience alongside the invigorating release of playfulness is never a fail because it is unbelievably good for the soul.
Can you describe your creative process?
I love to experiment using color combinations, collage, and differing mediums. For the past 5 years I have been exploring more with oils and different techniques to use with them. I am highly process oriented because it is usually about the ride for me versus the destination. I categorize my work into two types of working - the first is what I call, “slow painting” in which I pull from a slower, meandering head-space. I’ll oftentimes paint thumbnail sketches on 2”x3” pieces of cut board or of similar sizes using gessoed paper scraps.
Doing this helps me see what shapes and compositional patterns I am leaning toward. In the background of my thought process, I like to play around with puzzling together ideas of a texture & how I might like to use them (texture) within a particular shape or section. I would then move over to the canvas and begin to build the canvas up from gesso to systematically applying collage, caulk, acrylics or anything needed before working with oil.
The second type of work I explore leans more in-tune with abstract expression using intuitive free flow. It is quicker and feels like dance. These are the moments to play with the fluidity of our expressions that I would not know how to describe in words. I will work on the floor using large heavy-weight paper, stretched, or unstretched canvas & any paintbrushes or tool utensils that speak to me at the time. Colors, tools, and compositions take hold on whim as I listen to music, exploring emotions that come up throughout, as well as a new marks or interesting peeks of texture. Some of my favorite utensils to use are wooden forks & flat, tiny pieces of wood that I like to drag and pull as well as large oil sticks for scribbling - these items have a fun tactile sense I thoroughly enjoy during the application process.
