陈列您的艺术作品给每天无数的访客观看

My work should be experienced in person, rather than viewed on a screen. Many in the developed world now live much of their daily lives gazing at computer monitors or television screens. My paintings resist this flattening of our senses. They beg to be touched.

My paintings have always reflected my own visual experience. Miami, with its brilliant light, vivid tropical plants and abundance of ocean forms, is a major inspiration for my palette of hot colors and the organic nature of my imagery. But I am also interested in folk art, in the Expressionists, in the feminist-based Pattern and Decoration movement of the 1970s and in the masterful way Henri Matisse orchestrated his colors. Recently, I have been looking at the sculpture, architecture and paintings of the Baroque era: I am attracted to the rhythm the theatricality, and the sense of erupting excess, barely kept under control. I want to bring that drama, bold beauty and intensity to my own work.

My paintings explore how paint would respond to new demands. I use it as a sculptural medium, molding and shaping forms before placing them on the surface of my still-wet canvas. What interests me is the tension between the illusion of space on the flat plane of the painting and these three-dimensional elements that literally project off the ground, occupying their own space. Increasingly, my works bridge the divide between painting and sculpture.

I work on my paintings from above them, pouring and dripping paint before applying these molded shapes. I want to activate my entire composition and set up a sense of energy between figure and ground. The decorative, all-over quality of the surface is a formal device used to stimulate one’s vision and take the eyes and mind to places where rhythm and color lift the viewer out of an everyday world.

I build up imagery in my paintings, first through a process of design and then as if I were constructing a topographical map. The shapes I use are tactile and sensual: they look like flowers, like sea forms, like nipples, mountains or squirming larvae. The viewer might see simply an explosion of color or an overall pattern. Gradually, perhaps a landscape of peaks and valleys or underwater coral reefs and sea plants might emerge. I encourage this kind of engagement and interpretation, because I want my paintings to reach a wide audience, and to be accessible to everyone from the child (at heart) to the art sophisticate.

Flores

2006
91.4 cm x 91.4 cm

Bouquet

2006
182.9 cm x 121.9 cm

Adrift

2006
121.9 cm x 121.9 cm

Anenome

2006
61cm x 61 cm

Sunflower

2006
91.4cm 91.4 cm