Striking minimalist lines, clean open spaces: these are the qualities that inspired my interest in Mid-Century Architecture. The essence of Philip Johnson's “The Glass House”, his interplay between interior and exterior living space through his use of glass greatly influenced my aesthetic interests. These same qualities later drew me to the works of Mark Rothko and Barnett Newman and their immense canvases of color and simplicity.
I began as a collector of American craft; specifically glass and three dimensional pieces. I found that collecting art and, more specifically, living with art, made me curious. I was driven by the need to have a more intimate knowledge of the pieces that I viewed. I first studied pottery, and later continued my studies, taking classes in both glass and sculpture. My most recent studies led me to The Academy of Fine Art and painting class. It was with pigment I that I was able to harness the duality of control and grandeur that I so admired in the architecture and American modern craft. Through the use of layers and the study of how color affects the viewer's emotional experience I began painting large abstract works, yet I still searched for that translucent quality that exists in glass.
After experimenting on canvas and not producing the results I had longed for I came back to those pieces, Lino Tagliopietra glass, his form, the translucent colors, Warren Rohrer and his color field studies. I questioned how to combine these ideas. My answer came in my new series of work.
In this series, etched mirror becomes my canvas. The reflective quality of the glass influences the paint and color is transformed. The vibrance of the color produces an ethereal quality that answers all the questions I have had about the creative process. They are minimalist, yet viewers find a very emotional aspect in each piece. This emotional quality becomes even more apparent by the way each viewer chooses to view the work. It is a very singular experience as each piece changes depending upon the angle in which it is viewed, and the lighting in which each is displayed. In these works lie the qualities of light and dark, of air and earth, of metal and water. It is in how you choose to view them that defines your experience. The use of translucent pigment layered with more opaque pigment adds a three dimensional quality. The painted glass takes on a more a sculptural feel and the work becomes architectural, it becomes a window into a minimalist field of color.