It is here in Northern Montana where I was born and have spent most of my life. I am very lucky.
I started painting around age 30 when my children where still in school. I was drawn to big surfaces, big color and movement. I began a Fine Arts Degree at the local community college in 1998 and later transferred to the U of M in Missoula MT. My time in academia was brief but my experience there offered building blocks for self exploration in making art. My early work was inspired by the figure and my love of modern dance. These days I prefer to paint non objective work that is indomitable and imbued with movement. It's important for me to have my own ideas in making art so I create opportunitites for random marks and shapes. This moves me towards making work that feels immediate, authentic, unscripted. I'm looking to discover a simple mark, known and unknown. It's been both challenging and liberating to give myself permission to create compositions from the rudimentary. It's offered me a platform to transmute the often chaotic and an opportunity to move the seemingly unmoveable.
In 2015 I received a Strategic Investment Grant through the Montana Arts Council to study with Master Teacher and Artist, Steve Aimone. Steve Aimone was influential in helping me connect with my work and for that I am grateful. Since then I've used Automatic Drawing practices as a primary tool for making art. I'm inspired by what comes when allowing the subconscious to create through shapes or simple brush strokes. It is here that I allow myself to invent and discover the immense possibilities. This practice of making art offers a safe container for fears and delights to transform and I find that is an essential support in the work of the psyche.
"Until you make the unconscious conscious, it will direct your life and you will call it fate". - C. G. Jung
I'm currently exploring the strength of random shapes that I have created with small collage studies. I am curious about my connection to them, my attraction to them and the composition that emerges when I insert these shapes into a chaotic color field. As I work with larger surfaces these shapes become essential characters. Entities, albeit abstract. There is a satisfaction in placing these shapes over the top of the immediate. Obscuring attemps to paint unencumbered. Perhaps this work reflects control over chaos or the need to place ones self into plain view, in front of it all. To be seen, to hear and be heard.