The work I want to make in Rome will be an extension of the paintings and drawings I have been making over the last few years.
By allowing raw canvas to become a part of the image in my work, I have focused on the relationship between paint and substrate, paying attention not only to how a painting depends upon the material which supports it, but how that material can play a part in its surface composition. This focus on the relationship between surface and support places my work in dialogue with the ancient tradition of Roman mosaics. My paintings are often built the same way. Blocks of color shift planes and perspective, creating both deep and shallow space. The negative space pulses throughout the painting, linking the color, symbols, text and shapes. As in a mosaic, this network of negative space moves your eye across the imagistic surface, creating a structure for the painting to rest in.
While I have seen mosaics in my studies and travels, I have never had the opportunity to return to them, to study them in person for long periods of time, and to let them directly enter my own work. The Abbey Fellowship would allow me the time and space to do both the research and allow that to be translated directly into the paintings.
Lago Azul, 2017
Install shot, 2019-20
Install shot, 2020