In nature and in art, the repetition of simple pattern often
organizes complex structures. My paintings focus on the correspondence
between man-made decoration and design found in nature. Cross-referencing
patterns I depict similarity between, for example, the microcosm
of a cell and the macrocosm of an organic architectural detail.
These models appear in my work as networks of line and layers of
transparent color. Through the organization of the space of the
painting I emphasize connection, integration and relationship of
the parts to the whole, revealing the links that connect ornamental
iconography to the structures of the natural world.
I have a life-long interest in painting as an experience or environment.
In the 70’s I began to do paintings that were planned to
relate specifically to particular exhibition spaces and installations
in which all the parts were interactive. Recently my interest in
creating an interactive visual narrative resulted in the creation
of multiple panel pieces in which the relationships of the parts
to the whole is fundamental. I paint on metal with transparent
washes and linear networks of color. My installations are groups
of densely painted panels, often as many as 30-50 pieces. The concave
galvanized tin forms I paint on are the lids of maple sugar buckets.
As a New England artist, I found these forms particularly potent.
I respond to the sight the buckets hanging, solitary on trees,
reminding me of the transitional and ephemeral nature of the seasons
as well as the resurgence of new life.
The patterns and shapes that repeat throughout my work create
an internal dynamic of cross-referenced imagery and a sense of
mutable, shifting possibilities for viewing experience. The repeated
images create a cyclical and cumulative, rather than a linear,
reading. Through this experience the painting becomes a journey
that continues to unfold, reminiscent of the ongoing pattern of