Emily Jaeger, Features Editor:
Could you talk a little about your interest in the painter’s gesture, this impactful exaggeration of the actual brushstroke? What was your impetus to begin exploring it in your work?
First let me make clear that these works are actual brushstrokes. Many people mistake them for sculptures or molds. They are not forms that have been painted, they are pure paint through and through that I make with large brushes or directly with my hands. Brushstrokes are human, personal, and intimate. When I look at a painting by Ingres or Frederick Leighton the artist isn’t obviously present. When I look at Rembrandt I feel him there, I can connect with him. I want to be present in my work. Read the rest of the article on the Woven Tale Press website.