As an artist who has largely relied on “conceptual armor” to make my work (a term I absorbed during my MFA years), this body of work represents an unlearning of convention and a therapeutic shedding of some aspects of my practice that didn’t always serve me.
This series of small paintings forfeits representation in favor of another form of content— content derived and discovered through the act of painting. Lacking recognizable or agreed upon symbolism, the primary language of Afterimage is formal, based upon pattern, mark-making, color and tonal relationships, subtle shifts in surface, edge, texture and space.
Like all acts that involve problem solving, the iterative process is central to this inquiry. Pushing against self-imposed constraints, I actively court awkward and unresolved visual elements that create welcome tension within a painterly space.