GLASS PAINTINGS

Drag & Release

Letters confronted me early on as more than just code, but as ballet, and playing with them on a page released them from their usual task and recast them as manipulable forms. Through the nineties I built an array of odd-looking tools that could be manipulated at the point of contact with a smooth substrate to create an effect of three-dimensional calligraphic line in motion. It was in this series of glass and wood constructed paintings that the strict authority of written forms gave way to the physicality of line to tell a more volatile, kinetic story of human energy and geological force.

The artist with her squeegee

Regions of the Will is the title of an exhibition of composite paintings representing physical flow—geological, liquid, biological. The strokes are delivered onto glass surfaces using handmade rubber tools that are manipulated in a 360° range of motion. Trapped beneath glass in constructed boxes these images represent motion in a state of flux between capture and release. The human figure too is represented in states of physical constraint and emancipation.