Stemming from my infatuation with the formal elements of painting, my work pairs down simple, anthropomorphized shapes in an effort to explore paint and color theory while simultaneously creating tension and humor through color, edges, and texture.
In utilizing color theory to create color relationships that result in sensory optical experiences upon viewing, I can trick my viewer into seeing colors as other than themselves, adding a layer of humor to the production of the works. The playful, human qualities of painting are incorporated into the work through the use of amorphous shapes animated within the picture plane. A long, slim shape with rounded off edges starts to feel like an arm. A chunky oval with a modest circle balanced on top begins to resemble a body. A sharp corner and soft curve begin to feel at war with one another. The introduction of curved shapes allows for a push back against the bravado of minimalism and geometric abstraction I have experienced as a female artist in those fields, adding feelings of tension that mimic my own in relation to those ideas.
Further informed by ideas of the mundane, the awkward, and the jovial that surround everyday life, the complexity of human relationships are mimicked by the shapes interacting on each painting's surface. In acknowledging that life is not always cordial, moments of tension are placed within the satisfying surfaces in the form of an abrupt mark, a disparate color, or a shift in scale. Analogous colors and contrasting textures create space in my work, leaning into the traditions of painting and its role as a window. This tool is also used to create depth, creating space within the paintings more easily translatable to the viewer as a livable space, reinforcing the idea that the shapes they are seeing could be human ones. These ideas are used to take viewers outside of themselves for a short period of time, hoping to offer a break from the bombardment of distractions, notifications, and news we encounter so often on a daily basis.