Marissa Weatherhead
ART Habens
introductory pages of this article has captured our attention for the vibrancy of thoughtful nuances of you sapiently combined, and in particular we have appreciated the way Look Away Now shows that vivacius tones are not indespensable in order to create tension and dynamics. How did you come about settling on your color palette? And how much does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork and in particular, how do you develop a texture? There is a direct link with mood and colour association which I automatically respond to. The palette I use is spontaneous and works best without too much analysis, as a result some of the paintings go through dramatic colour changes as an image is changed moved or eradicated. These pieces can become so textured through image overworking that I abandon or discard them. There is no doubt that certain colours have a sense of familiarity and others I find much harder to work with. You mentioned the painting “Look away now’ which has yellow in it and yellow is one of those colours that exists in my world of creativity as a positive but doesn't hold the same values in my living space. Each of your paintings have a specific and distinct genesis, that lead each artwork to evolves through its own process. As you have remarked in your artist's statement, your process has reference to a point of memory and emotion that gives rise to a reaction. How do you consider the role of memory, as a crystallization of everyday life's experience playing within your process and how does your daily life fuel your work as an artist? Emotion is central to my creativity, it is intangible like a memory or reflection but not invisible and has the ability to create a virtual reality that can distort the truth with fragments
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