Language has been seeping into my work, insinuating itself for
the past ten years. In this body of work, I am continuing my interest
in the intersection of text and image, and especially the evolution
of the image as an analogy or shadow of the text. Having developed
from the use of actual language and its’ development, the
forms become a personal hieroglyph.
Placing cut-out shapes under drafting vellum, the images are created
by sanding back through multiple layers of acrylic which have been
painted on the vellum. This is then mounted onto a wood panel.
I continue working additively with paint and collage, as well as
the continuation of sanding. The amount of sanding determines how
the various layers of colors are revealed, sometimes creating images
that seem embedded in the surface of the painting. In the most
recent pieces, much of the composition is created by the accretion
of forms, building the compositions physically. They appear more
topographical or map-like; the surfaces are readable in an additional
way, creating another kind of analogy to language. The built-up
layers of color act as grounds or fields for the forms, which are
either held in by the space, or float through and out of the frame.
The Glyphs series relate to a previous group of works, in which
I had been investigating how language emerges, the evolution from
sound to word to thought. As in the earlier projects, the images
are built by layering and eradicating over a long period of time,
revealing in them a history and accumulation, comparable to language
acquisition. The compositions of these works are themselves a result
of accumulated shapes. I have also long been fascinated with the
issue of voice, and the correspondence of sound.
The series attempts to resolve the conversation I am always having
in my work – between wanting to reveal all, and the desire
to obliterate. It is as if the pieces themselves need to speak.