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Through my paintings I challenge notions surrounding isolation. My subjects include organic and inanimate objects. I paint them on either wood or metal, thus reflecting the organic/mechanical relationship of the subject matter. When the metal paintings are complete the surface is coated a high gloss automotive protective finish. This process allows the viewer to participate within the work as the surface now mirrors the viewer’s own gaze reinforcing the notion of isolation.
In “Containment” the reflection of the viewer within the painting is a post-modern response to the linear view that surrounds so many ideas of painting. The hierarchy of artist conveying ideas down to the spectator is fragmented when the viewer sees their own gaze contained within the work. This idea is best illustrated in Sue 2. The viewer’s gaze becomes isolated by the composition of the painting. By framing the viewers‚ reflection within the work, the viewer is now challenged by questioning their own relationship to and within the painting.
In an attempt to further experience isolation, the subjects are stripped of their own identity. The human form is always depicted from behind and unclothed. In some cases the figure will be wrapped in a white sheet – the sheet, while seemingly acting as a protective layer, emphasizes the figure’s vulnerability. This form is more innocent as the subject is nude not naked. The distinction is that the nude is seen as an isolated figure removed from the objecting gaze of the viewer to participate comfortably within the work without the thought of intrusion.
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