In building threedimensional and textural surfaces, I draw from the assemblages of Robert Rauschenberg and sculptures of Louise Nevelson. On the opposite end of the spectrum, the trompe l’oeil and realistic tendencies in my work come from a deeply rooted fascination with the works of Gustave Courbet and Brad Stroman. For the grounds and abstractly painted areas, I have studied the works of Leah Michele Keck. My process involves creating a grid-like guideline upon which to draw the main subject of each piece. As I begin to develop the three-dimensional arrangement and the painted areas, there is a constant shift between the different approaches. Much of my time in the studio has been in profound silence as I seek to let the piece guide me through its shifts and developments.
As a painter, the visual element of the world is extremely important to me. The importance of visuality--like touch--is enhanced by my deafness. The textural areas are not quite three-dimensional, but not entirely two-dimensional either, thus tying the two extremes together and adding to the multi-dimensionality of each piece, echoing the many facets of life.
Throughout my life, God’s grace and love for me have been incredibly significant factors. While others may wonder how I deal with deafness, I know that God has given me my deafness for a reason. I choose to embrace my disability as a gift and use it to bring Him glory. God has also given me the ability to paint; to see and create beauty.My faith inevitably works its way into my paintings, and serves as another cohesivethread among my work.
While the series is a narrative reflection of my journey, my ultimate goal is to produce an honest, raw representation of my life that invites the viewer to make his or her own connections to my story.