Who can know the pain, the joy, the regret, the satisfaction? Who can know the love of one life, one heart, one soul? At two you’re at abstraction. —Sara Groves
Here, the result of focusing on two or more individuals in a work is ambiguity comprised of observation, disappointment, reaction, and finally, unsettled satisfaction.
“Prisca” or “Priska” is the name of the woman the Apostle Paul mentions several times in his epistles in the biblical New Testament. Prisca was a highly respected Christian in the early days of the Church.
The works you see here depict women also belonging to the Church, women (and soon to be women) created by God to be held in respect—each one a Prisca.
I question our ability to be vulnerable and empathetic with others, and in these paintings I am attempting to do just that. Creating works where I can give hours of attention to a single individual and a mere moment of their life is my act of admiration for their vulnerability and my contemplation of these large questions.
In creating these works, I am acknowledging the women of our churches today—attempting to really hold, see, and understand a few—and elevating them to the position of regard to which Paul held Prisca in his writings.
And also with you
The Christian Liturgy is an ideal example of an established, yet open structure, where people can be both vulnerable and empathetic with each other. To create this work, I have used the figure and an open process reminiscent of the liturgy’s structure. My own vulnerability is visible in how the piece is created – it is an active search for form and the representation of that form’s presence. The figures I have portrayed are isolated individuals, unaware or in sudden realization of a viewer’s gaze, and placed within an ambiguous space, evocative of a church or sanctuary. The works ultimately portray how I want the church to be – an open structure, full of empathy and vulnerability.
Dissolved and Shaken
Now I become myself. It's taken Time, many years and places; I have been dissolved and shaken, Worn other people's faces… — from “Now I Become Myself” by May Sarton
These works dissolve figure/ground relationships into compositions of gestural line and mark. Combining and translating information from photo references, this process is part depiction, improvisation, and alteration, so the work hovers between clarity and obscurity. Through this process, I am able to reflect on the intersections of personal identity, sanctuary, and relationship.
A Place Unchanged
There is nothing like returning to a place that remains unchanged to find the ways in which you yourself have altered. – Nelson Mandela
The camera makes everyone a tourist in other people’s reality, and eventually in one’s own. – Susan Sontag
Using childhood photographs, these works were an opportunity to reflect on the romanticization of memory and its effect on our perception of reality.
Contact me if you are interested in a commission! Let me know what subject, size, and medium you have in mind, and we can discuss from there. Looking forward to working with you!