I am both pollinated and pollinator spreading through the waves of kinesthetic experience. My brush lands in more than one place as the light seeps through me. What is it to be a plein-air painter who chooses to paint in unusual locations, sometimes many locations on one canvas, and not to decide on one time and one light?
My work spawns from my dual practices of being in the moment as I paint directly from life and from my practice of deep dance improvisation. In this practice I work to stay present in almost a microscopic way, sensing my bones, joints muscles and cells and how sensation and movement connect. From that point I sense the other dancers’ presence.. I practice being both figure and ground and compose in collaboration with the other moving bodies. I use my eyes to give and receive using both soft and sharp focus. A soft peripheral receptive vision is important to be aware of the other dancers as we collaborate with our bodies. And a sharp focus is helpful to create direction. I use my body like a paintbrush carving the space.
I often paint on location so that I may engage in this dance directly with others and also so that I am often witnessed as I create. There is an immediacy and an honesty that happens when I risk being seen.
The planet is my studio and my stage. I want people to see me make art so that they are sensitized to what is before them and are inspired to create.