My current paintings focus on the industrial landscapes, past and present, in my home state of Vermont. I use both watercolor and oil paints to express their many moods and the beauty I find within them.
The watercolor series, 'Darkness Obscured', explores the interiors of several buildings within an abandoned marble quarry complex in Southern Vermont. I lived among these buildings 20 years ago and they have haunted me ever since. There is a palpable energy within these crumbling walls that permeates the air. The buildings breathe with a calm stillness as mother nature slowly reclaims her territory. For me, these spaces are meditations on how beauty and light are eternally intertwined with the dark and decayed. I also find a deeper resonance in the theme of darkness and light. These seemingly opposing forces reflect the bleakness of sorrow and depression, as well as the joys of hope and love. These interior 'gardens' are a visceral reminder that these contrasts are not only inherent to life, but also a sacred part of it. There is tremendous beauty within the ugliness.
Me: I grew up in the city of Philadelphia. One of my earliest (and fondest) memories of place was playing underneath the Allens Lane bridge which borders Fairmount Park. There was something about this intimate space that has stuck with me. It was hidden, mysterious, built of the rough textures of crumbling concrete and rusting iron, but surrounded with lush green woodland. Cars and trucks pulsed overhead, but I was aware I had found a quiet place of refuge. It felt peaceful, safe, gritty, dangerous, and sincere all at the same time. After graduating from Massachusetts College of Art with a degree in Sculpture, I pursued a career in designing and building gardens. The gardens of Japan became my obsession and taught me how the power of natural beauty could transport and transform. I am now circling back towards studio art in hopes to continue this exploration. Instead of solely focusing on 'nature' for inspiration, I'm taking a deeper look at it's intersection with man-made 'ugliness,' and realizing that the distinction between the two is not that clear.