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Blanton visit to the HEB Study Room

My art is developed from a narrative fragmenting of images. My childhood was rich with colorful characters, steel magnolias and a confluence of mixed messages. The consequence of this is a creative ability to find humor in most things. My aesthetics reflect these poetic dichotomies: beauty with calculation, the bitter with the sweet, the humorous with the serious; the literary with the familiar; clandestine moments with collected observations. I enjoy the play of metamorphic connections with the subconscious and senses. Sexual entendre and duality of meanings are explored with symbolic and psychological innuendo. Images are juxtaposed, altered, and accessoried with a tongue-in-cheek attitude to form the focus of my work.
ink, paper, image
alone, working happily
now one with myself

I strive for Magritte's basic intention, to make art with a "disturbing poetic effect."Ě My work presents exotic subjects in the drama of black and white, or the subtle monochromatic tones of printers' inks. The prints are based on my photos of real places and slightly mysterious objects that are embraced by a post-apocalyptic anxiety, which induces a state of psychological unease in the viewer. The images raise questions, but knowing the back story doesn't necessarily provide comfort. The result is by turns intimate, earthy, fragile, universal, and contemporary. The images are full of the organic subtlety showing the naked beauty of weathered rock and plants, contrasted with man-made architectural elements. The organic elements complement the man-made. In purely aesthetic terms, the works use an interplay of tones and textures, with formal qualities of composition in the arrangements of objects under the viewer's gaze. The unfamiliar induces a state of ambiguity mixed with a strange longing or nostalgia. The camera captures temporal events, figurative and narrative, fragments in the cycle of life and death. History is revealed in multiple layers with an underlying order and inherent drama exposed in contrast and detail, painterly and sculptural at the same time.

My work is a constant search of knowledge, both personal and external. I concentrate on the consideration of life, time and space. My work synthesizes mythology and reality into dynamic environments in which spaces expand and contract unexpectedly. Using energetic patterns and lines, I create planes intertwined with people and animals creating an exuberant narrative. Recently I extended my interest into natural motifs in a series of mountain and forest landscapes, in which a principle moment appears frozen. Challenging the notions of time and sequence, in which the viewer completes the narrative.

I create dreamy, layered landscapes that evoke the history and memory of place. My recent work is based on travels in the Middle East, where competing historical narratives and cultural memories shape modern life. These works portray a shared landscape, repeatedly divided, and the beauty of a land we only hear about in terms of blood shed. Beneath the divisions of religion, culture or nationality we construct, lies the common human experience.

I discovered printmaking relatively late in life when I took my first printmaking class in 2001. I like the process and the surprises inherent in printmaking. I am continually amazed that I am able to overcome the mess and the dirt that are part of printmaking, but I like the creativity the process brings about. 
I often use my own handmade paper for my printmaking, and I love how the unique characteristics of the paper influence the final print. I am also a gardener, and this is perhaps why I like to use images that appear in nature in my artwork (and in some ways my art is an extension of my gardening). 

I was living in New Mexico when a fortuitous requirement of printmaking coursework for my graduate program in art therapy led me to expression in another medium. Since that time I have been exploring printmaking and creating soft ethereal-like inspirational images. The circle or circular movement can often be seen in my artwork. The circle is a universal symbol with extensive meaning--a continuous symbol that has no beginning and no end. Throughout my life I have created circles, benefiting from the sense of comfort, peace, and total integration.

How I feel when I am making art is perfectly described in what Don Miguel Ruiz says: "When you are in your creation and you are doing what you love to do, you become what you really are again. You are not thinking in that moment; you are expressing.Ē I love being in that space where I am not really thinking, I am expressing what I am feeling inside. One could say that I make art to please the eye and touch the soul.


Memory, location and nature, the inspirations 
Texture and pattern, the fascination
Printmaking, the adventure.
I have a fascination with nature and I love collecting seeds, bones, and oddities I find in the streets. These often inspire ideas along with images I dream. The evolution of those ideas through drawing and the solar intaglio printmaking process is challenging but exciting. Imagination plays a big part in the formation of images and I find it satisfying when it all comes together.
I'm fascinated with the printmaking process, especially the delightful surprises that come the first time a new plate is pulled. I gravitate towards the textural effects of collagraphs finding platemaking is only limited by one‚€ôs imagination. My work has been exhibited throughout the US but primarily in Texas, with a second solo show on the books for Chicago in 2015.

I view my work as a collaboration with nature. I make handmade paper with plant materials from my garden. My photographs are also mainly taken in my garden or on hikes. I am fascinated with symbols and intricate patterns that, to me, give glimpses and insights into to the great mysteries of life.

WPA Event Details
WHEN:
2/16/2012
WHERE:
Blanton Museum of Art
CONTACTS:
Chair: Deborah McLouth
Participate
Event Deadline
The deadline for this event (2/15/2012) has passed.