My work reflects places and times of day or season: moonlit night and luminous day, sunset and dawn's first light, high and low tides - all dualities.
My connection to the sea includes the shift of perspective from micro to macro: looking down at the water's edge, both seen and felt underfoot as well as gazing out and beyond, to the infinity of space at the horizon.
I find it deeply satisfying to appreciate the up-close personal universe of the shimmering reflections of translucent water on sand patterns & sea life amid the shallows - as well as being awed by the timeless expanse of the sea, as a metaphor for the numinous and unknowable juxtaposed with the here and now.
I am also intrigued by the interplay of water's fluidity with the solidity of built form, as another integration of dualities; holding onto things to feel grounded, while being immersed and connected to the intangibility of it all. In that work, the angled shapes also reference structures, and imply a viewpoint of here vs there, as well as a diminishing perspective that directs one's view out over the water. Much like one's instinct to gaze outward, they symbolize a directed view to the 'beyond-ness' of the sea; out of oneself and into the unknown.
Making monotypes and paintings influence both practices and come from the same impulse -- to utilize both direct and indirect methods of creating marks and applying pigment.
In printmaking, I like the unforeseen results when I start with a pattern or ghost with successive layers applied and fluid marks rolled over with thicker ink to generate new marks and repetition. Similarly in painting, I may start with a silkscreen underlayer, overlaid with translucent paint through rollers, spatulas &stencils along with turp marks that resist and create patterns.
Recently I've been working with underwater reflections & patterns as well as wood grain to evoke a sense
of water movement, and the interconnectedness of things.