Painting and drawing work simultaneously as layers build—connecting paper fragments, mark making with embroidery, and smudging with chalk. The boldness of color and contrast collide with sensitive lines, intermingled with subtleties of texture. My focus is to balance delicate lines against organic forms and loose brushwork. I am drawn to the tactility that fabric and sewing add to the painting process. The nature of thread is strong but intricate; embroidery is permanent with the appearance of fragility.
In nature, colors and textures thrive or subdue during their life cycle, and my inspiration derives from the transitions that happen during this process. Leaves have subtle discolorations and flaws that create fascinating organic forms in contrast against rigid lines from disintegration or broken edges held together by a delicate framework of veins. I am most interested in this display of growth and decay because of how intimately it speaks of change.
In all of my paintings, I use a sewing technique called free-motion machine embroidery on top of painted papers and then incorporate those papers as collage. I love the way the stitched lines sit on top of the layered paint forms, embellishing each piece with texture and delicate lines. I am drawn to the tactility that sewing adds to the painting process. The nature of thread is strong but intricate; it has a sort of permanence with the appearance of fragility.