I am interested in observing natural and man-made objects that illustrate the essence of abandonment and an antique quality of age and value. Through technique and composition, I attempt to bring to life the personality of each object I paint because just like people, objects have a unique character all their own. I want to explore the concept of self-reflection as it pertains to inanimate objects because the objects that I choose have personalities that compliment my own. Mirrors are often associated with self-reflection in the idea that everyone views things differently. No one object has more value than another. Though, in today’s society, people litter and give away objects that they no longer find important. Capturing the small amounts of detail in an object, I attempt to bring the objects I paint back to life and show their value to the world.
How did you come into this interest of observing nature and man-made objects?
I have always shown interest in Nature and man-made objects, specifically the way they interact with each other. Nature creates an unscathed sense of beauty. In today’s society, people pollute manufactured objects, which harm our environment and make the world less beautiful.
Are there specific steps you go through while making your composition?
When developing and making a composition I set up a still life and take several pictures at different angles. From there I chose the composition moving objects if they seem like they are in the wrong place or changing the lighting to create drama. Sometimes I sketch several compositions before I paint, to see if I find the composition interesting or if I should adjust the composition in any way.
What difficulties have you run into and overcome through the course of this year, and how have they improved you and your ability as an artist?
As an undergraduate student who minored in Art, I never had the experience of developing a series of work or working on multiple paintings at a time. This year as a graduate student, I have learned how to develop a body of work and work on more than one painting at a time. It has also allowed me to work faster, which has always been a struggle.
What has your journey towards Graduate school been like? Do you have any advice to give to young painters or artists?
It has been a great learning experience. I have learned so much from both the professors and other students here at Eastern. Some advice that I would offer to young painters and artists would to follow your instincts, but still being open to new ideas introduced by students and professors. Some professors mentioned working on several paintings at a time, which scared me at first because I have always focused on one painting at a time. I actually thought it helped me paint faster because I can take breaks between paintings if needed. If I do not take breaks between paintings, I feel like it slows me down sometimes.