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As I mentioned in my previous post, I had a successful series, dubbed by my peers as “the dancing chair series,” which was my senior project in college. Among the Abstract Expressionists, I was encouraged to study the work of Franz Kline. Kline developed a habit of taking drawings and projecting them onto a wall so that the lines became monumental. The results are abstractions of lines that are sweeping and forceful. While my process was nothing like this, my black and white work was a large-scale depiction a directors chair whose sweeping distortions and forceful strokes made the chair appear to dance across the paper.

When I began to incorporate color into these works, I was encouraged to study the work of Richard Diebenkorn, of the Bay Area Figurative Movement. His work titled Corner of Studio Sink, is a perfect example, again, of an every day object transformed and abstracted when examined closely, yet retains its character as something recognizable. My work on the Manhattan Bridge series is intended to be a continuation of those concepts explored from my earlier work.