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John Metcalf, 1989

UNEASY BEAUTY

Her paintings have a collage and sculptural quality, resulting in a fusion between colour field painting and process art.

ARTIST STATEMENT

Scars and Marks
1975  
acrylic on canvas 
68" x 76"
Matheson Collection - Wilson, ON

Colour

I have always been inspired by the work of the Abstract and Colour Field painters and how they manipulated the surface, or the "field", of the painting.


My first one-woman show was of my Scars and Marks Series, 1975 and Skinflick Series, 1976 at The Pollock Gallery in Toronto. Both series were influenced by the women I saw each day outside of my first studio, working the streets at Yonge and Wellesley.

Paper Painting in Red Tones
1978
paper, acrylic on canvas
72" x 60"
Matheson Collection - Wilson, ON

The "Field"

As I progressed, I became fascinated with a few colour "field” painters in particular as each had their own distinct style - Jackson Pollock dripped the paint, Helen Frankenthaler and Morris Louis poured the paint, Jules Olitski sprayed it.


I found this intriguing but also realized that no one was manipulating the field in one action. It was through this realization that I developed my own technique, incorporating a new element.

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PAPER

To create my first series with this technique - Paper Painting Series, 1978 - the paper had to be the same size as the canvas in order to apply it to the surface in one action. However, this limited the size of painting I could create as the application was dictated by how far I could reach physically. I also found that using different types of paper had different results – handmade or more delicate papers would often rip or tear during through the process where manufactured papers with greater density, like wrapping paper and wallpaper, would maintain their original structure.

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Character

What I've always loved about using different kinds of paper is that each has its own character. I find that paper has a very human quality and is like people; some are thicker and have a stronger character, some are more fragile, some bleed more than others.

Constructus Shuffle
1989
paper, acrylic on canvas
64 x 72 in  |  162.6 x 182.9 cm

Layers

As my work evolved I became very interested in using layers of paper, not as traditional collage but as a drawing element, and reworking the formal design attributes of these materials into my paintings.

Paper Painting - SHAFT 
paper, acrylic on canvas  
72 x 66 in |  182.9 x 167.6 cm

Stripes

Then it all seemed to click one-day when I came upon a bin of black and white striped wrapping paper and wallpaper. I found that by folding the striped paper at various angles, I was able to manipulate the connections of line, form, and volume creating the effect of an optical illusion. The resulting geometric shapes set against a background field of stripes of the same paper created new depth and perception. At certain angles, the lines would appear to fade into the background and simultaneously appear to be emerging from it.

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Mark of the Artist

I feel the handmade, over the man made is what’s most important in my work. With digital and other mediums taking over, the mark of the artist is being lost.

ARTWORK

GALLERY

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Selection of Works.

CV

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Exhibitions, Publications, Collections, Awards & Grants, etc.

"Sensual, lustful pictures that reflect a rich personality."

-  Alkis Klonaridis, The Klonaridis Gallery