@tuneyart
Becoming, 2024. Oil paint, walnut ink, shellac, acrylic gesso, plywood, 11.5 x 14.25 x 1.5 in.
The Last Thing on My Mind, 2024. Walnut ink, shellac, acrylic primer, wood, 11 x 14 x 2.5 in.
Seeing, 2024. Scraped plate with drypoint, 12.5 x 18 in.
The work is a result of seeing. Honestly, and as if for the first time.
Humanity and humility are ripped from the same purple sticky note;
place is simultaneously noun and verb.
It is a practice of location. With reverence and gentle hands, artifacts of
the field are extracted; calibrated with an attention to changing geologic
conditions. Temperature often defines the constraints of the hand; cold
and tight or hot and fluid.
It is a practice rooted in a child’s never-ending “why?” Pieces are
produced from a fine-toothed filing of the mind. A sifting of sand in the
attempt to find something solid. To break apart and disassemble all the
parts to only put them back together.
Images bubble up to the surface in an active state of becoming; arrived
at in a synthesis of what is seen and felt, two processes located in the
hands.
The objects are intimate and slowly steeped in the habitual ruminations
of the everyday. A steeping often demonstrated in the transformation of
material; walnut husks juiced, surfaces shellacked, and sometimes
seasoned with a sprinkling of organic debris.
The work comes out of this cannibalistic brew of unrepeatability.