Can you tell me a little bit about you?
I am from Alaska and was raised half in Mexico, this has had a profound affect on my work’s sense of scale and light, but I’ve been in NYC for a while now. I finished grad school in 2010 and was sent off to paint in Germany for a few years and loved the community of artists there.
A fun fact? Well, I was a commercial fisherwoman off the coast of Alaska for years and have a captains license for 200 ton vessels, this has inspired my interest with vast spaces and subverted masculinity.
When did you first discover art, or realize you wanted to make it yourself?
I don’t remember a time not wanting to be an artist, my folks were art teachers so it was pretty much how my siblings and I were raised.
What do you like most about working where you do?
The community of artists.
What ideas are you exploring in your practice?
My work is concerned with the pace of life and the speed at which we consume imagery. My mark making methods use pacing and light as a means to direct the viewers eye. With an acute focus to temperature and brushwork, the images reveal themselves to the viewer in slow time as the landscapes evoke a specific time of day, meanwhile the abstract brushwork juxtaposes with informative landing pads. The only major change is my relationship to color, it’s constantly evolving.
What is your process like?
I make large oil paintings tacked against the wall and I build up an entire series together. The large works invite viewers into simultaneously hidden and exposed imagery. While contextually rich, and positioned so as to give the impression that the viewer can enter the composition and interact with the space, the swampy scenes reveal just enough to challenge and coax the viewer into a personal gaze. The works transport the viewer into a warmly sensuous yet brutally erotic memory of a world that once was, or could be. I try to let the female perspective enter a type of painting that has traditionally only belonged to men. By making large scale master pieces, I hope to dis-associate the idea of a master piece with a master.
Is there any subject or theme you’ve been particularly interested in lately?
I’ve been looking at Joseph Albers and Joan Mitchell again lately. Mitchell for making a sketch feel complete, and Albers for making loud colors feel quiet.
What is the strangest thing you’ve ever had to do for art?
Socialize. I think it is absurd and strange that success seems to be based solely on how much you are out, and who you know.
Do you have a day job or other work that you split your time between?
I used to commercial fish all summer and return to my studio for the academic year. Fortunately at the moment I am lucky enough to focus solely on my work.
Do you have a mentor, or a piece of advice (or both), which has influenced your practice?
I’ve been lucky enough to have had some great mentors and champions, but my practice always tries remember what my professor, Rid Hachiyanagi once told me – “What is truly personal, is universal.”
Bad advice? aaahhh too much to even start.
Is there any piece of advice you would offer to others?
I’ve had a sign on my studio for about 10 years that simply says, “Work Harder”.
But for other people I think “Don’t give up” is still a classic.
What does it mean to you to have a “community?”
It means everything to me! I love being surrounded by artists.
What is your studio like?
It’s great, I share it with a few other artists but we have our own spaces.
Do you have any routines or rituals in the studio that get you into the mode or mindset to make your work?
Coffee, music, de-fluster myself, then start with making small Japanese inks to get flowing amidst the large paintings, if the works are far enough along they will start telling me what to do. I’m there Monday-Friday, 11-7.
How significant has attending art school been on your practice?
My undergrad had incredible professors, and my grad school sent me on the path to Leipzig. Which turned into an extended residency and years living and working in Germany – eating, drinking, talking shop, and working alongside some of the smartest and most generous artists alive, it was amazing.
What do you find most daunting, challenging, or frustrating about pursuing art?
Regardless of how much people pretend it is changing – it is heartbreaking to live in a world that never associates genius or brilliance with woman. Apply that reality to a field with no applications and quality is gauged solely off of taste, it’s pretty deflating!
How would you define “success” in art?
Selling enough to work without fear.
What is the most exciting thing you’ve done or accomplished so far, related to your work?
I was honored to be a part of Ngorongoro II showing alongside people I’ve admired my entire life.
Are you involved in any collaborative or self-organized projects?
Yes! I’m alway cooking up curatorial proposals of group shows.
What are you working on right now?
A new series of paintings
Anything else you would like to add?
I love what you are doing!