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Updated: 9.1.2010
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LYNDA LITCHFIELD
Most of these paintings begin with several translucent layers of pigmented wax and paint, often followed by inlaid or drawn lines to suggest an elemental geometry.This structured emptiness creates a space and a scaffold for intuitive marks and invented paradoxical forms.
The types of sources that engage me include diagrams, botanical forms, mechanical structures, and random marks on rocks or walls. These are never depicted directly, but are forms observed and reconfigured ญญญ re-emerging in an intuitive response to what is happening in front of me in the process of painting.
As layers are added and scraped away, marks are made visible through the translucent luminosity of the wax. The paintings record the process as a kind of meditative dialog over time. Resisting fixed meaning, the work is open to ambiguity and multiple readings ญญญ balancing on the edge between revelation and concealment, meaning and randomness,beauty and indifference.
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