I have a passion for painting. My focus in painting is to translate the temporal delight of food into the more enduring satisfaction of painting.
I am interested in the experiences associated with food. The enjoyment begins with the anticipation and expectations of that first bite, then leads into the sensations of indulgence. This complex experience is deliberately and carefully crafted. This experience is ephemeral and intimate. The chocolatier devotes considerable time and attention to their craft. The first bite of the morsel is much like opening a carefully crafted and wrapped present. There’s the universal understanding of the mouthfeel of a cream filled chocolate, but that sensation is fleeting.
Painting provides me the stage in which I may present the sensations of indulgences and luxury that one obtains through savoring decadent delights. The intent is to make the sensations linger for a while longer and to unravel the flavors and textures for the viewers’ eyes. Behind the scenes of my process, there is a thorough recreative method. This involves researching the subject and constructing a specific composition, for example: baking macarons, staging and photographing them, before finally engaging in the painting process. At times the food is acquired from other food artists whose passion for food is evident through their deliberate creation and meticulous process. This connection gives purpose and translates my interest in the passion for the art of food.
Painting is a form of communication that translates desires and impressions. The mouthfeel of a spoon, the cool damp of a chilled glass, the warm bite of liquor, the aroma, the texture, the atmosphere are all sensations I consider in my art. I indulge in the art of manipulating paint to read representationally, yet still allowing the paint to dance on the canvas. I keep my subject matter in focus, but I will let other elements of the painting go into impressionism. Composition and scale give my work greater impact, while my use of elevated saturation and contrast creates more “flavors” and intensity. The size, shape, and orientation of the painting is as imperative as the internal image represented. The careful blending of colors instills more significance to the attributes of the painting, making it more luxurious, refined, decadent, and alluring. My intent is to create an intimate experience using memories, sensations, and desires. Scrutiny is given to the small interactions with edges of the surface; places where objects are close or touching, giving a sense of touch and intimacy. Creating passages between objects is a delicate and playful experience in the painting process. I am constantly trying to push the boundaries of intensity in color and fluidity of mark making.
Realism gives me control and focus. This vision is focused on impact, beauty, and elegance. Realism employs illusions to manipulate the viewer into seeing what isn’t always there, but what I as the artist want them to see. By giving the hint of a tea cup, the viewers’ mind is left to finish the thought. Along with the paint and canvas, the viewers’ memories and sensations are vital tools for orchestrating my art.
This is the beginning of the rest of my work. Looking ahead, I am on the conceptual hunt for what it is that I am painting. I seek understanding and clarity. I want to learn how to be a stronger artist from concept through creation. Life is fleeting, and the goal is to savor the pursuit.
Here is a brief look at the work going into the installation of my solo show “The Taste of Luxury.” The gallery space and staff were absolutely incredible.
What is the significance of learning to draw? You cannot learn tips and tricks to draw well and ultimately become a successful artist. The importance doesn’t rest in magic tricks. The development of the universal tools of vision is where the significance lies.
You become a better artist when you learn to pay close and careful attention. You must slow down when you are observing an object or space and take care to truly learn how to observe. There is a difference between seeing and observing.
We train our eye, our mind, to read quickly and identify what you see. When learning to draw, one has to slow down. Don’t look at the objects and items; look at space as a whole. Stop identifying, start observing. Draw what you observe, precisely, not what you think you know. Look carefully at the apple, pot, hand, tree, all in the same wonder. Look at the world as if it’s never been seen or understood before. Look with the aims of recording it for the very first time, recording it to share with another who has never seen it before.
Learning depth of an object or space is pertinent. It is vital to develop a greater understanding and an intimate knowledge. Learning to clearly and concisely develop a visual communication is a tool that can be reapplied universally across a variety of fields.
I am beyond excited for my batch of Drawing II students this semester. I have some stellar students!
I am excited to announce the opening of my upcoming exhibition “The Taste of Luxury.”
This exhibition is showcasing a collection of my most recent paintings demonstrating the intimate sensations of artfully crafted food. This exhibition will include my works in watercolor, oil paint, and acrylic paint. This opening reception will include and installation of edible art depicting my intricate process of art making.
Please message me directly for an invitation to this exclusive event.
So far this year I have been creating works in oil paint, acrylic, and watercolor. Having this balance between the three different mediums gives me a refreshing change of pace. I balance working on three different works at a time. This gives me the opportunity to have a mind shift between my paintings as I work. This change up keeps me on my toes.
I have been working on developing a stronger pallet to convey the senses. I push to translate textures, temperatures, smells, taste, mouth feel, etc.
My scale has also increased these last few months. My paintings range in scale from 9″x11″ to 4’x4′ My favorite size is still 2’x4′
Here is a sneak peek at what’s on my easel currently.
This last year I have grown to focus on the organic line, beautiful form, and universal understanding for the object of the spoon. In all of my work I play with the highlights, trying to give them open passage through the space. These spoons give me room to play with line and shape and form. They allow me the opportunity to push our understanding of the subject and see what all I can take away from the drawing and still have it read as a spoon.
This semester I have had the privilege of teaching a studio section of Design 1 at the University of North Texas. It is incredible how teaching your passion helps give you a new understanding and a different perspective on how you make your art. It really helps make me more aware of my decisions.
This morning gave me a chance to reflect on my students progress thus far in the semester. We brought all of the sections of Design 1&2 together for a Core Design Show. Highlighting the hard work our students have put forth. So proud and excited!
Please keep posted for individual photo shoots and project descriptions.