required for output, I photographed the painting in sections and then merged the patches together. I digitally adjusted the 91 x 122 cm (36 x 48 in) composition for output on 11 x 1.5 m (36 x 5 ft) outdoor vinyl.
gesturally, instinctively? Or do you methodically transpose geometric schemes? In particular, what importance does spontaneity play in your daily routine? Creating my artwork involves balancing both instinctive and methodical approaches. At times I begin painting or sculpting more impulsively and then refine and rework until I’m satisfied with the result. Other times the process is reversed and I begin with sketches and outlines but freely change course and improvise along the way. By not confining myself to a planned direction, I allow for serendipitous results.
After the six-month outdoor exhibition, I cut out a damaged area and created a series of ten small mixed media works as part of the Production - Process Collaboration installation curated by Marina Moreno at Tate Liverpool. Months later, I cut the remaining weathered vinyl into twelve panels (roughly 91 x 150 cm / 3 x 5 ft each). I gessoed and painted sections; sewed on circles of string I crocheted along with plastic mesh produce bags; and wove in additional painted canvas graphic bars. Each piece was then mounted on three wood bars (which had another life as the dividers of foam surfboard blanks used during the manufacturing process). I displayed the panels outdoors for one day (https://vimeo.com/335790381) and hope to exhibit them later this year in an indoor public setting.
Spontaneity is a form of freedom but without any parameters, it can be chaotic. For years I’ve been concentrating on an abstract, minimalist, stylized female form. During the development phase of experimentation and discovery, freedom and spontaneity were essential. However, as the form has evolved into a recurring motif, my practice has become more methodical. By keeping one variable relatively consistent, the female form, I’ve been able to explore different media and techniques without becoming overwhelmed by the near-infinite possibilities.
Marked out with such unique visual identity, your artworks display such a coherent combination between sense of freedom and rigorous aesthetics. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself. Do you create your works
However, as a result, I’ve been grappling with a growing sense of redundancy in my work. I’m reconsidering the parameters I’ve set and contemplating
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