Dancing Series 1
As I have grown in my art practice, I have wanted to use and explore notions of “happy accident” and the “artist's hand”. I have found that the best way to do this is by playing with materials, enjoying their unpredictability. At first I worked on paper, and I loved and exploited aspects of it which most watercolorists would try to control or avoid, such as its tendency to buckle when damp. Then I discovered Mylar, where I had even less control (it is extraordinarily flat and smooth), and thus many more happy accidents.
I began deliberately encouraging these “accidents.”I dropped “puddles” in a range of sizes and shapes (using a mix of ink, liquid acrylic paint, and water) onto the Mylar, and waited to see what would happen as they dried. The type of surface, the evenness and levelness of the table that I worked on, the humidity of the room, the type of brush: all these made a difference in the result. As the mixture dried, edges emerged both on the periphery and in the interior of each form, suggesting ridges, pools, or strata. Remarkably, as in nature, each form—like a leaf, for example—was the same as and yet unique among its siblings. Each element meticulously reflected its particular set of circumstances.
I've been investigating how to work on and/or with Mylar ever since. Sometimes I have cut out the forms that result from the dried puddles, and have used them in assemblage and collage on surfaces such as board, canvas and Mylar. In the works shown in this exhibit, all the elements and forms that you see are painted directly onto Mylar. I'm excited to conclude that there is no lack of opportunity for further exploration: stay tuned.
Dancing Series 1