Recently I began to make large charcoal drawings of landscapes of my imagination that sometimes include figures. Like the paintings, they are sourced from observation and are an optical response to my environment. However, they evolve very spontaneously and embody a more comprehensive sense of the world than the purely visual. Curiously, as they became longer and longer, the longest being a full 100 feet, and more emphatically landscapes, they also became more clearly portraits; self portraits, portraits of my husband, our marriage and our life together.
The size of my paintings is small, modest and domestic. They are scaled to the reach of my arms and the breadth of my vision. Whether the scale of the image is immense and expansive or close, detailed and intimate, it unfurls across the panel, revealing a narrative like the story in a novel. It is most often a personal narrative, autobiographical in content that informs and is found in the finished work. The probing of experience through the kind of contemplative engagement with the world that painting supports, has been of sustaining interest to me for many years. Frequently sketching on site, I refine and edit the images later, while painting in the studio. Often, I paint from the left side to the right edge of the panel, and during the process, the landscapes become maps or barometers of feeling, internalized responses, psychologically defined spaces while simultaneously being reflections on perception, light and form.