My work stems from diverse interests. It is based on ideas involving geometric form, balance, restraint, contrast, color, spatial relationships, and negative and positive shapes. Research is a major component in my work, and it has implications in both the content and the process of my pieces.
Mazes and labyrinths have always intrigued me and have been used throughout history as symbolic and captivating structures. I view these as diagrammatic and derived from architectural structures. The viewer may feel the need to mentally “walk through” these interconnected spaces in order to understand them, or the reference may be more subliminal. Cezanne’s idea of reconstructing his vision based on the simplified terms of a few shapes—a sphere, a cone, and a cylinder—has always fascinated me. The circle, the square, the diamond and the triangle in these geometric pieces are, for me, building blocks.
Another important aspect of my artwork is the surface quality achieved through the manipulation of materials. I have been working in encaustic since 1984. I was attracted to the medium from the ancient mummy portraits from Faiyum and from articles I had read about the use of wax in art conservation. It seemed to offer the surface I needed to continue a five year period of intensive drawing and facilitate a move back into painting. The surfaces in my most recent paintings have been expanded to include constructed three-dimensional forms embedded into them. In these pieces I am striving for an amalgam of industrial and technologically derived images culminating in non-objective forms that address non-representational and non-narrative issues.