The body of work originating from this Problem in Lieu of Thesis consists of paintings on canvas that incorporate representations of plant material. The impetus for the paintings was black and white photocopies created from mounds of plant material placed on a copy machine. The resulting copies contained forms that were organic in appearance, but unrecognizable as known objects. Parts of the most interesting and ambiguous copies were used to develop the imagery of the paintings. The new forms served the purpose of creating visual interest from unexpected images. Combined with traditional painting techniques, the selected forms produced paintings of mysterious and playful worlds similar to those parts of the environment not readily accessed, such as galactic space, microscopic organisms, and ocean depths.

Recently my creative process has led to a new area of investigation and exploration. I have discovered that I enjoy the unexpected occurrences that happen while painting. I have an appreciation for the parts of my works that do not follow the preliminary sketch and are produced more subconsciously. While usually this aspect has been restricted by the adherence to a preliminary sketch and narrative, the new works explore these occurrences more fully. In the new works, I worked in a more spontaneous manner to create work that does not focus strictly on narrative but reveals itself more as a journey or exploration.

My approach to the art making process is a kind of poetic reverie on forms and spaces. Webster’s Encyclopedic Unabridged Dictionary defines reverie as “a state of dreamy meditation or fanciful musing; a daydream, a fantastic, visionary or unpractical idea.” It is a romantic notion that has less to do with the big questions of existence than it does the incidental parts of daily existence. Reverie is a state of mind that comes from being receptive and finding simple pleasure in the affects of imagination. My paintings, drawings and sculpture evolve out of the freedom to imagine shapes and spaces that describe different kinds of interactions. They come from recollection, awareness, and observation of the diverse sensual phenomena that surrounds me. The variety of interactions between forms such as contrast, imbalance, balance or synchronicity, have the potential to evoke various aspects of being: vulnerability, uncertainty, confidence, and determination. Possible interactions between shapes and spaces are what intrigue me most. Recently, I expanded the investigation of form to include objects and consideration of space. As the scale of my paintings and drawings grew, I became interested in the effects of three-dimensional objects in a space, such as a gallery. My inquiry …