Project Statement:
My work combines experimentation with a psychological approach. This psychology has affected me as the artist as much as it affects the viewers. I have become almost numb to the colors of the medium; however, that does not mean that I have become numb to the technique and process. Specifically, it is the focus method that has become the meditation aspect of my work.
I work with watercolor because it is an essential medium for me. I like the idea of being able to control and learn to control water-based paint. Additionally, I want to work with it in a different way than most watercolor techniques. My technique consists of watercolor shapes that are different in size and form. These forms can range from hundreds to even thousands depending on the format. The process is continuous and additive to the point of layering. I have discovered different transparencies upon layering; these vary with the color used and the amount of water. I have researched looking for other artists who may share the same or similar processes. However, my findings have been very limited or non-existent. On the other hand, my research has brought about influences for my work through connections with other work and artists.
In previous works, my watercolor was on the wall. The viewers should view these works with an open mind. Specifically, in an earlier 20 piece series, the watercolor forms were explicitly intended to be psychological. Like the randomness of the watercolor shapes, I cut watercolor paper in different shapes and sizes. The pieces of paper were then randomly put back together in which the watercolor forms painted on each piece of paper would form a large image. The image, of course, was not intended to be specific. I used wood boards as a hard surface to frame these forms and to be able to hang them on the wall. Once attached, I asked viewers the first thing they saw when viewing each form. For me, this helped me to see the different possibilities that each watercolor image could be as I had lost touch through hours of painting and, again, had no specific form or image in mind when putting the pieces together. This series was later labeled "Appendages" because they could be continuously added to.
Recently, I have moved from two-dimensional formats to three dimensional. The 25 watercolor sculpture series was intended to be similar through my meditation process. However, it differs from the two-dimensional work because of the increase of the surface area; thus, increasing the work-time to complete each sculpture. The materials used were modeling foam, watercolor paper, Winston & Newton watercolor paint, scissors, and Elmer’s glue. My strategies involved working on all 25 sculptures at once; this consisted of rotating between sculptures, I would paint on one side of one statue then move to another sculpture while the first sculpture dried. This rotation served as a time saver. Lastly, this 25 piece series will be interactive. Similar to the viewers’ visual interaction with the 20 piece series, the audience will have the opportunity to handle each sculpture by stacking, shifting, or adding and subtracting using the shapes and color of the pieces. This interaction will be indicated by a table, which the pieces will be placed on, and chairs, to welcome viewers to sit.