What interests me currently is developing a way to construct art that evokes a visceral reaction, by representing the feeling I get from a particular subject. The body of work created for the November 2016 exhibition at Gallery 110, Water Is Everything, uses predominately line work to achieve this – a real challenge, since the fluidity of water is more from its mass than particular line detail.
It was when I developed the layered cursive text painting technique on my Georgetown mural, The Colorful History of Georgetown, completed in July 2014, I committed myself to sticking to this form of art making with line work for one full year to see if I could develop my artistic work more deeply in this 12 month period. That exploration resulted in Textus, my solo exhibit at Gallery 110, Seattle, in May 2015. The work in Textus was an exploration of how line work alone could generate a visceral reaction, by layering cursive lines of text in strategically chosen colors, so that it was not legible but had emotional impact.
Continuing with the commitment to line work, I am finding that the more personal engagement I experience with this process to reflect my responses to this beautiful world, the more viewers react to the outcome. So, in essence, what is happening is a dichotomy of letting go as I paint, even though the results usually appear very controlled.