2019
50x50cm (20x20inches)
Acrylic paint, ink, spray paint, pastel on handmade mulberry and rice paper.
2019
This is the first work in the series. There is a strong tension between the two fields of color. Almost touching. The painting is monochromatic with lots of texture in the detail.
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Please remember, colors can vary slightly when viewed on a screen. The light blues are more teal in real life.
From the Blithe With Me collection.
Generous white space. Scribbled ink-blot.
My admiration for the AbEx artists trickles into my work. I see hints of Helen Frankenthaler's large washes on natural unprimed canvas and Cy Twombly with his scribbly, illegible writing. The large, monumental canvas calls to me as it did them. I push and pull materials, as well as write stream-of-consciousness, on canvas over 1x1 meter in size sprawled on the floor. My color-field paintings incorporate both spontaneous and meticulous applications of ink, pastel, acrylic, spray, and oil paint. My aim in the studio is to let go, be present, and play with the paint, play in a serious manner, as children do.
I am artist-mother in restraint and perpetual release.
100x100cm each (100x300cm total)
acrylic, oil, ink, pastel, and spray on stretched canvas…
2019
From the Blithe With Me collection.
Generous white space. Scribbled ink-blot.
My admiration for the AbEx artists trickles into my work. I see hints of Helen Frankenthaler's large washes on natural unprimed canvas and Cy Twombly with his scribbly, illegible writing. The large, monumental canvas calls to me as it did them. I push and pull materials, as well as write stream-of-consciousness, on canvas over 1x1 meter in size sprawled on the floor. My color-field paintings incorporate both spontaneous and meticulous applications of ink, pastel, acrylic, spray, and oil paint. My aim in the studio is to let go, be present, and play with the paint, play in a serious manner, as children do.
I am artist-mother in restraint and perpetual release.
*Please see “Collect” tab for more info about collecting original artwork.
100x100cm (39x39inches)
acrylic, oil, ink, pastel, and spray on stretched canvas.
2019
From the Blithe With Me collection.
Generous white space. Scribbled ink-blot.
My admiration for the AbEx artists trickles into my work. I see hints of Helen Frankenthaler's large washes on natural unprimed canvas and Cy Twombly with his scribbly, illegible writing. The large, monumental canvas calls to me as it did them. I push and pull materials, as well as write stream-of-consciousness, on canvas over 1x1 meter in size sprawled on the floor. My color-field paintings incorporate both spontaneous and meticulous applications of ink, pastel, acrylic, spray, and oil paint. My aim in the studio is to let go, be present, and play with the paint, play in a serious manner, as children do.
I am artist-mother in restraint and perpetual release.
*Please see “Collect” tab for more info about collecting original artwork.
100x100cm each (39 x 39 inches each) Sold as a triptych (set of 3)
acrylic, oil, ink, pastel, and spray on stretched canvas.
2019
The text in my painting is stream of consciousness writing. Writing stream of consciousness makes me present with my thoughts and the painting. The writing is not supposed to be legible, it is used more like line and texture in the work, it is a practice of getting into the work. It is a way of clearing my head and being here, present. It makes the work personal and expressive.
I love the large scale also because it encourages me to work freely. Working from my shoulder rather than my wrist. My work is a large statement work. It often is the focal point in a collector’s home. My collectors are often first time collectors because my work is affordable and approachable. I love making work that has a lot of details that can be slowly discovered over time. They have this life-giving piece of work hanging in their home adding to the space and to the conversation.
From the Blithe With Me collection.
Generous white space. Scribbled ink-blot.
My admiration for the AbEx artists trickles into my work. I see hints of Helen Frankenthaler's large washes on natural unprimed canvas and Cy Twombly with his scribbly, illegible writing. The large, monumental canvas calls to me as it did them. I push and pull materials, as well as write stream-of-consciousness, on canvas over 1x1 meter in size sprawled on the floor. My color-field paintings incorporate both spontaneous and meticulous applications of ink, pastel, acrylic, spray, and oil paint. My aim in the studio is to let go, be present, and play with the paint, play in a serious manner, as children do.
I am artist-mother in restraint and perpetual release.
100x100cm
acrylic, oil, ink, and spray on stretched, unprimed canvas
2019
These works on natural unprimed cotton are unforgiving and somewhat tumultuous. I begin by painting a circle of water... Then add pigments, at times liquid, other times soft pastel. I give and take color. Then I let the first layers/washes dry. I return to the work the following day and add details and textures. At times adding water again and pigment and other times painitnng somewhat dry. I try to listen to the painting and add what it needs and asked for. I also try to listen closely for when it is done. These as all paintings have a danger of becoming overworked.
“The work evokes genesis, beginnings. There is a trembly, nascent quality to the form. Its name, Wombly references Cy Twombly, and is also a cheeky reference to pregnancy. Its shape and color scheme evoke the Earth, and the fluid quality of the colors also are reminiscent of embryonic cell division.
The broken or empty parts of the shape and the splatters elsewhere on the canvas seem to indicate movement or story. It is as if the work is frozen mid-process, not unfinished, but a single frame in a time-lapse. It is a painting that anticipates.”
- Sarah Ben Olsen
*Please see “Collect” tab for more info about collecting original artwork.
100x100cm
acrylic, oil, ink, and spray on stretched, unprimed canvas
2019
These works on natural unprimed cotton are unforgiving and somewhat tumultuous. I begin by painting a circle of water... Then add pigments, at times liquid, other times soft pastel. I give and take color. Then I let the first layers/washes dry. I return to the work the following day and add details and textures. At times adding water again and pigment and other times painting somewhat dry. I try to listen to the painting and add what it needs and asked for. I also try to listen closely to when it is done. These as all paintings have a danger of becoming overworked.
“The work evokes genesis, beginnings. There is a trembly, nascent quality to the form. Its name, Wombly references Cy Twombly, and is also a cheeky reference to pregnancy. Its shape and color scheme evoke the Earth, and the fluid quality of the colors also are reminiscent of embryonic cell division.
The broken or empty parts of the shape and the splatters elsewhere on the canvas seem to indicate movement or story. It is as if the work is frozen mid-process, not unfinished, but a single frame in a time-lapse. It is a painting that anticipates.” - Sarah Ben Olsen
*Please see “Collect” tab for more info about collecting original artwork.
180x180cm (6x6ft)
Acrylic, Ink, Gesso, and Spray on stretched canvas
2019
It is part of a body of work that is playful and free. It is a large piece that encouraged me to play and let go in my process. When returning to the painting time and time again to work on it further, the painting kept saying “don’t worry, don’t overthink it, play.”
The underpainting is a stream of consciousness writing painted with India ink and black gesso. There are layers upon layers in this painting. Acrylic and ink and then the black text written in a circular motion, and then white gesso covering under-paintings writing scratched into it. Then more layers of acrylic and spray.
They Said, Play no.02 has both free marks and drips of paint, as well as detailed layers of intentional brush strokes. The piece has immense detail when observed closely, it plays with both control and chaos. It is a delicate and subtle balance of intention and letting go.
*Please see “Collect” tab for more info about collecting original artwork.
100x100cm
acrylic, oil, ink, and spray on stretched, unprimed canvas
2019
These works on natural unprimed cotton are unforgiving and somewhat tumultuous. I begin by painting a circle of water... Then add pigments, at times liquid, other times soft pastel. I give and take color. Then I let the first layers/washes dry. I return to the work the following day and add details and textures. At times adding water again and pigment and other times painting somewhat dry. I listen to the painting and add what it needs and asked for. I listen closely to when it is done. These as all paintings have a danger of becoming overworked I wanted them to be somewhat effortless and primal.
“The work evokes genesis, beginnings. There is a trembly, nascent quality to the form. Its name, Wombly references Cy Twombly, and is also a cheeky reference to pregnancy. Its shape and color scheme evoke the Earth, and the fluid quality of the colors also are reminiscent of embryonic cell division.
The broken or empty parts of the shape and the splatters elsewhere on the canvas seem to indicate movement or story. It is as if the work is frozen mid-process, not unfinished, but a single frame in a time-lapse. It is a painting that anticipates.” - Sarah Ben Olsen
*Please see “Collect” tab for more info about collecting original artwork.
100x100cm
acrylic, oil, ink, and spray on stretched, unprimed canvas
2019
These works on natural unprimed cotton are unforgiving and somewhat tumultuous. I begin by painting a circle of water... Then add pigments, at times liquid, other times soft pastel. I give and take color. Then I let the first layers/washes dry. I return to the work the following day and add details and textures. At times adding water again and pigment and other times painitnng somewhat dry. I try to listen to the painting and add what it needs and asked for. I also try to listen closely for when it is done. These as all paintings have a danger of becoming overworked.
“The work evokes genesis, beginnings. There is a trembly, nascent quality to the form. Its name, Wombly references Cy Twombly and is also a cheeky reference to pregnancy. Its shape and color scheme evoke the Earth, and the fluid quality of the colors also are reminiscent of embryonic cell division.
The broken or empty parts of the shape and the splatters elsewhere on the canvas seem to indicate movement or story. It is as if the work is frozen mid-process, not unfinished, but a single frame in a time-lapse. It is a painting that anticipates.” - Sarah Ben Olsen
*Please see “Collect” tab for more info about collecting original artwork.