While working in Spain I was inspired to paint the Distortion series. Even though I am familiar with and comfortable working in my LA studio, I was really unsure where to begin when it came to painting. I have been really busy getting children settled back into a new school year and finding a new voice for my work seemed secondary at best. So instead of looking for a new idea, I continued with the distortion series and this was the first work I produced. I named it Cliff distortion because of how the line falls off the edge of the paper:
Cliff Distortion 1-15, 2014, acrylic on paper, 15″ x 18″ea
Then I put this work to birch panel. After being requested to be seen by a client, I sent both series to Galleri Urbane. My studio walls feel empty again but in a good way.
Wood Distortion 1-5, 2014, acrylic on birch panel, 12″ x 12″ea
Since I love painting on birch panel, I was interested to take it to a larger scale. This led to the idea of grouping together several panels to create a large scale painting. I painted on nine panels each measuring 18″ x 24″ with the three vertical panels all connected by the same colors. The new piece (and hopefully the new series) is called Permutations. The notion of a permutation relates to the act of rearranging all the members of a set into different sequences. I’m excited by the idea that the panels can be placed, arranged, and hung in different configurations and that every time the piece is installed, a new painting comes to life.
Here is another composition I arranged without over thinking the process too hard. Artists usually desire to have full control over how a work is presented and displayed. I’m in favor of the idea that upon seeing my work hung in a space, it will be new to me as well.
I am realizing that the Distortion series might be coming to a close. It is not really a conscious choice I make when moving on from a series, it sort of happens organically. I plan to get back to painting on canvas and was prompted by an idea from a New York Times Science video. The new series which will be titled Vibrio will start with an under-painting which will be more felt than seen when the top layer is completed. This is based on the idea that microbes cannot be seen by the naked eye, yet life could not exist without them.