The sacred markings in the Jewish Book of Life , an imaginal seed pod specimen, the lunch of sardines my father ate from the tin at the kitchen table every day at noon.
My subject is poetic botanical abstraction. I paint imagined seeds, contained, dispersing or seen through a micro or macro lens.
I am inspired by the early photographs of Karl Blossfeldt and the Svalbard seed vault, where boxed seeds lay protected from climate change. Conveying the idea of cold, I limit myself to the cool winter palette. An amalgam of natural materials, ash, plaster, paper and pumice maintains a harmony between material and subject in my work. These paintings earned their patina through hours of mixed media seeking, submerging and sounding.
The sacred markings in the Jewish Book of Life , an imaginal seed pod specimen, the lunch of sardines my father ate from the tin at the kitchen table every day at noon.
My subject is poetic botanical abstraction. I paint imagined seeds, contained, dispersing or seen through a micro or macro lens.
I am inspired by the early photographs of Karl Blossfeldt and the Svalbard seed vault, where boxed seeds lay protected from climate change. Conveying the idea of cold, I limit myself to the cool winter palette. An amalgam of natural materials, ash, plaster, paper and pumice maintains a harmony between material and subject in my work. These paintings earned their patina through hours of mixed media seeking, submerging and sounding.