ARTIST STATEMENT‍

I am here to engage a conversation in image format. The landscape readily welcomes the created image into the conversation for me- vast and awake as a listener, and never a critic. For many artists, other subjects radically beacon in welcome, too.

The exchange begins creatively between the everyday touched, and the non-everyday or untouched - as raw materials, connecting: HERE, to synthesize into something new, found or arrived. For me, these two components of experience (compartmentalized as separate to greater or lesser degrees of focus) are never so much at home in their essence as when they connect somehow into a conversation that reaches beyond, and expresses a brilliance anew byway of it. I use my palette of oil paints to host this, like a homecoming of sorts, and the work serves in opening up the uniquely found beauty generated by it, in essence.

Revealing the alignment of the image’s fresh presence, as beauty, as an integrated and complete conversation- a home-coming - becomes the task. The irony I find is that the finished perspective doesn’t ever stay in the same place: it returns to its home aligned ground of radical perception only by its creative arrival in connection, between them HERE. Another way to explain this: the more paintings surface to look like gripped/static perspective repeats of themselves, the more it is transparent that the conversation in the value that I hold for my work alone, is dwindling in my focus and needs opening back up.

If the stimulating experience of this exposure to a radical irony of perspective as flux/change- is unfolding and happening between me and the viewer through the painting, or captured somehow in the image, it is what I hope to offer as a painter. I am going to go out on a limb and suggest that this is also why it can be really challenging for artists to share any work before it is actually ready. Sharing can infringe or even diminish the commitment that the artist MUST make to the messy internal process, that is essentially entitled to their process as the creators who are responsible for what they make. It’s as though someone would demand that a juggler pause their ball mid-air to prove how well they are juggling it, without it falling down. It is an unfair e

In this respect, may the conversation we truly share for the creative impulse, endlessly anew, finally begin.

Joyfully in color’s real and unknown magic…

Laurel

ABOUT THE PRINTS

All prints are an archival quality giclée (a French word for '“spray ink”) and they are made-to-order from a small business in Vermont. The paper print on archival enhanced matte brighter white paper, or on a thicker Hannamuhle white paper (depending on your print size), comes with an additional 2” white border around the image with the title of the work and the artist’s signature hand written in graphite. The canvas prints, always finished on site with a fine UV protectant, forgo any white border and instead mirror-wrap around a 1.5” deep stretcher frame (lightweight pine) with the signature in permanent marker on the back. My feeling is that the more refined capture of the matte paper prints relate better in formal or quieter spaces, containing a spacious quality enhanced by the additional border and the array of framing possibilities. I offer additional professional framing if you reach out when ordering a paper print. Alternatively, the stretched canvas prints are considerably bolder in both shape and color (via the nature of the canvas printing and coating), and thus ideal for spaces in need of infusing energy and some dynamic physicality even. The mirror-wrapped edges also allows for the image to feel like it’s “jumping off the wall” in one flowing unified statement. They are also significantly lighter in weight than the large framed paper prints due to no heavy glass component. You are welcome to reach out if you need some help in deciding which style to hang in your space, or would be assisted by a custom framing consult to go along with it. Cheers!!