VIEW IN MY ROOM
Featured in Summer of 2021 in Saatchi Art's Midsommar collection. Pale green and aqua. White reflections of light. The clearest shallow waters with white sand beneath. That is the memory I have of wading in the Caribbean Sea off the coast of Belize and Costa Rica. Though done in acrylic on stretched canvas, the results of my method resemble a block printed cloth, dyed batik or screen-printed fabric. I used hundreds of tiny hand cut stencil masks arranged and adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale greens and not a solid flat white similar to how a bit of the top color seeps under the wax-resist pattern in dying a batik print. The 1.5 inch deep wooden sides are a clean bright white. There is a wire on the back making it ready to hang immediately.
Painting:Acrylic on Canvas
Size:36 W x 36 H x 1.5 D in
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
I live in the woods in northern California looking out across the San Francisco Bay towards the hills of Marin, San Francisco and Angel Island. The distant blue hills of my “Faraway Hills” series are ever-present fixtures in my real life. Down below is the bay and above is an endless web of tree branches. Their silhouettes have etched themselves into my memory. My paintings and prints are always nature-inspired and nearly always monochromatic. Having spent a decade as a printmaker making woodcuts, linocuts, etchings, aquatints and monotypes, my mind works in monochrome. I focus on a single color, composition, positive and negative space, pattern, lines and shape. I currently work in two mediums, acrylic painting and cyanotypes, a form of camera-less photography. Cyanotypes are a 19th century form of lensless photography also known as photograms, blueprints and sun prints. They resemble block prints or etchings but use no ink nor printing press. Light “etches” the image on paper I had painted with light-sensitive chemicals. MY NEWEST SERIES OF ABSTRACT CYANOTYPES: My technique is a form of experimental photography, much like the action painters Morris Louis, who poured his veil paintings, or Jackson Pollock who dripped and drizzled his. My abstract cyanotypes are luminous like watercolor paintings but are actually photographs. Each is a multiple-exposure lensless photograph make through deliberate movements of the light-sensitive paper during exposure to light. Different sections of the paper were exposed to light for a longer or shorter time, yielding multiple shades of blue. Each abstract cyanotype is entirely unique. These same lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water, turning, bending and lifting the paper as needed to shape the lines before they become permanently etched by the sun’s light. My botanical cyanotypes are each unique monotypes as well. They are slow camera-less photographs made outdoors using natural light and no film negative.
Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles
Artist featured by Saatchi Art in a collection
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