Color anthologies- mapping color

1) GREEN

"there are two kind of people in the world says Sand- those who dream of building a palace and those who dream of building a thatched hut who dream the small in great detail in every leaf that overhangs in every shadow every leaf the tiny writing that dreams alone. - George Sand

A narrative unfolds based on observed green over time. The process of walking,  green evolves, shifting invariably, green goes beyond green. Color narrates its way.  Its vast vocabulary. An inner reality showing  the  depths of  abstraction. Tangible landscapes of emotions, anchoring a beingness in color through time and space. My interest is to create a dialog with color through nature, how to wander in nature while engaging in a transformative undertaking.

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2) BLUE

A new narrative unfolds based on observing, feeling and sensing of the color blue over time.  My aim is to create a dialog with color through the practice of wandering in nature connected to memory. I've been investigating the color green through forest walks. Now turning to blue, I return to the sea. Just like the forest, a sense of intimacy exists and a passionate awareness develops. What is the landscape telling me? Breathing and tuning in. Being present. The colors become a a way of speaking out loud. The colorful, mysteriousness of nature with its secrets touch also upon nostalgic narratives. The art practice is a way of documenting and sharing by connecting with nature, but also a way of connecting through an acutely longing for  nature in connection to environmental concerns. Here connecting with others through a shared sense that we are devouring our world. We begin to see color and nature not as fixed, stable or absolute, but as a transforming space and an idea that is ever changing. 

The below paintings are trying to place the outside world, inside, by painting my memory of blues and nostalgic narratives captured through the outside world.  The sensing of the blues outside, becomes a process of painting from the outside inside. I determine color intuitively through mixing different shades from memory and placing them on the canvas leading to a way of creating a certain vibration between the different shades and colors. Colors and the vibrations between them are a reflection of the complexities of differences that exist in the world. Like a rhythm, wandering and connecting to the presence of color, is a way of understanding  an inner connectedness to all living things. A sensitivity to being present in nature, the paintings take part in a notion of a dwelling of space.  One can acknowledge the personal, intimate nature  of the feelings colors provoke and the memories they trigger. As I paint,  I wander along the sea both outside and inside.  The painting process acts like the sea breathing. Concsiousness exists on the surfaces of the body. Albers states " colors present themselves in continuous flux, constantly related to changing neighbors and changing conditions." Just like the waves and currents constantly adjust and change to different weather conditions. The process of painting, adjusts to slight variations in color and the movement of the brush generates different nuances and complexities within the canvas. The canvas becomes a visible layer of skin and the painting becomes a body in nature, opening into the unknown.  If one touches the sea, or the skin, the body disappears. If one is not able to sense it first, it becomes invisible to the eye. To understand the mapping of color connected to the practice of wandering and nostalgia, a kind of circling around a sensitivity to the fragile, the fleeting, the shapeless exists through the painting process.  The paintings function as a transformation of space, of a sensorial landscape, and as a sensorial engagement in a way of  giving oneself and others the gift of subtleties and nuances of a language to communicate and connect to one another. Using the language to reframe the present and to renew our ways of understanding and relating to nature.

John Cage stated " there is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot." 

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