I take a multi-faceted approach in my process; I construct a painting utilizing formal techniques in which I employ color theory, composition, and other classical methodology, but in addition to these more traditional approaches, I create metaphors in my work using the application of paint. I developed a process of painting on unprimed raw linen with colors that I’ve created through a mixture of pure pigment with various binders to achieve a multitude of surfaces and looks.
I start by staining the back of the linen with transparent pigment to create the first layer. I continue to apply layers of paint to each side of the linen using pouring techniques, brooms, scraping tools, and fabrics. I strive to create both physical and optical depth by employing color theory and the physicality of the paint mixtures. For me, the paint application works as metaphor for the way memory is constructed. The raw linen represents my lived experience. The first layer of paint, which I describe as a translucent fluid-like application, stands for the reminiscence, with a possibility of the unconscious mode seeping through. The fluid-like application itself stands for the dichotomy between the unconscious and conscious modes of remembrance, which is slippery or elusive on its own. The paint that is applied over the first layer represents further recalling of the experience. At some point through a repetition of examining the experience a new memory is constructed or is pushed to a point where the original experience is almost completely covered up. The painting becomes the priority at a certain point during the process and what is left is the idealized version of itself and the end product is an abstract painting.
When the painting drifts out of representation and becomes abstract, it is the paint reacting to itself and the history set before. It ceases to be a picture of a memory and place and transforms into a painting. It's not merely a formal painting conversation because the history of every mark before is part of a story. The mark-making becomes a covering, a veil, with residue and remnants of the past existing as well on the canvas. The veils of paint represent erasure, I use this application to draw more attention to the specific part of the composition. Some paint gestures represent a remembrance of the sensation of living that experience; The more abstract and specific colors are used depending on the situation. Other marks cover up a complete part of the paint that came before. This could represent a part of memory that is repressed. In the end, the painting is a by-product of an experience that once existed.
Blue From Up Here 60" x 44"
Left Bank 48" x 72"
Sky Blue Sky 55" x 52"