Every time I pick up the paint brush full of paint, or hold a pair of scissors to a painting full of the past, there is a feeling of fear being pushed out by freedom. The freedom of creation and destruction, whatever the outcome it is my choice.  Painting for me fulfills many of my basic urges and desires. It allows me to satisfy my need for mark making as well as becoming a vessel for emotional catharsis.

   As I child, I was exposed to the classical form of art through my mother. From a very young age I can remember thumbing through my mother’s many art history books and being captivated by the human figures drawn and sculpted by the masters. That respect for the human figure kept me doodling through out grade school and fueled my desire for further knowledge afterwards. I also believe that my exposure to the material and social aspects of rural southern life has had a great effect on my work. I have an emotional attachment to materials such as fabric, wood, and discarded objects that have surrounded me my entire life. I am drawn to use materials that I find that have been abandoned or labeled as unusable. That selection process seems very natural and purposeful for me.

   Along with my interest in masterful figurative works, in my youth I fell in love with the works of the painterly abstract expressionists of the early 1950’s.  Robert Rauschenberg has been one of my major influences, with his use of materials and the expressive painterly quality of his brush strokes.  In a lot of ways I’ve been influenced by Rauschenberg’s ability to take control of his artistic process. I read once that Robert Rauschenberg and Jasper Johns gave each other the “permission” to create whatever they wanted.  In that same right I like to take control of my creative process. I tame my fears knowing that my creations are no reflection of who I am as a person. I think because my work is very autobiographical I tend to become fixed upon my emotion rather than the creation process being something of an emotional release. I am also interested in keeping a sense of humor in my work. I feel that humor is crucial to connect with the view on an emotional level.

  In my current work I have been focused on portraying the figure in allegorical settings while experimenting with materials to create a surface that is both rich in texture as well as in process. In my newest works I’ve begun to experiment with the dimensionality of the surface, and I plan to push this even further. I have created what I refer to as the “paper doll” effect in which I cut my previously painted canvas and use the pieces to drape and pose.  I create new compositions and depth in concept I had not previously seen.

   I think the future of my work is heading toward creating a more rich surface depth and texture. I will explore the use of new materials and also break away from the constraints of the classic frame. I am interested in doing some installation work with my “paperdoll” effect inspired by Claes Oldenburg’s canvas musical instrument series. My painting endeavors are very diverse in materials and love to be inspired by artists of a variety of disciplines.