I choose people as my subjects for artistic representation because I enjoy being able to relate to visible projections of life that may be evident in a pose. Though I use the real moment of a live pose as a base, the freedom of expression, open choice for composition and manipulation changes the subject into a cognitive emotional response. I find unfinished lines in a drawn study can allow for unintended and open representation, directing my artistic intent.
Throughout my painting process I have strived to express my need for physical contact with the canvas. This energy derives from my emotional responses and want for the viewer to find connection with the painting. I want to fuel a relation and an internal emotion for the viewer as to take more than a glimpse, instead, to study and become interactive. By becoming more intense with my use of texture I am challenging myself to take risks with my fears and move beyond the uncertainty. For subject matter, I continue to use the face as a starting point and continue to paint from the figure. However, I am challenging the idea of a flat surface. By adding found objects and manipulating the surface of a stretched canvas, I begin to challenge the viewer to look beyond the found objects and to first see the painting. In observation, I have found that the viewer enjoys a three-step process of; the initial look at the painting, followed by a movement closer to take in all of the media and to again step away and, I hope, see everything. Painting is fulfilling and expressive, so I think the addition of found objects helps to break down the reading of my paintings as exciting, bold and adventurous. For myself, on closer inspection of my painting process, I can admit that unnecessary waste bothers me and that I enjoy retrieving objects from the street and wonder how they did not make it to the garbage.