Metamorphic Skies

2018Washington

Nov 1

This series ties together a year of foraging rock pigments in WA and the spectrum of the sky, ranging from the cloudy and rainy to the sunny and fresh. I worked with the shifting light of the seasons throughout the year to inspire the shapes and color palettes. This was a time when the Seattle city environment felt so fresh and new.

Metamorphic Skies i & ii ∙ 7” x 9” ∙ Purchase — *Metamorphic Skies i & ii* ∙ 7” x 9”

Clearing Up∙ 14” x 14” framed ∙ 2018 ∙ Purchase — *Clearing Up*∙ 14” x 14” framed ∙ 2018

A Crack in the Sky ∙ 12” x 18” framed ∙ Purchase — *A Crack in the Sky* ∙ 12” x 18” framed

Info

Description: I made these two portions separately, but somehow they became perfect partners.

Year: 2018

Foraged Pigments from WA

Paintmaking Process

Pressure ∙ 22” x 22” ∙ 2018 ∙ Inquire — *Pressure* ∙ 22” x 22” ∙ 2018

Using earth pigments reminds me of the finite nature of our materials, and brings more consciousness to the way I relate to using and purchasing materials.

Streak ∙ 22” x 28” framed ∙ 2018 ∙ Inquire — *Streak* ∙ 22” x 28” framed ∙ 2018

Waterproof ∙ 14” x 14” framed ∙ 2018 — *Waterproof* ∙ 14” x 14” framed ∙ 2018

Petrichor ∙ 26” x 34” framed∙ 2018 ∙ Purchase — *Petrichor* ∙ 26” x 34” framed∙ 2018

After the Storm ∙ 23” x 23” framedPrints Available — *After the Storm* ∙ 23” x 23” framed

Info

Description: Sometimes I feel like I’m caught up in a storm but when a clear day comes, it’s really refreshing.

Year: 2018

Flake ∙ 12” x 14” framed ∙ 2018 — *Flake* ∙ 12” x 14” framed ∙ 2018

Intermission ∙ 26” x 34” framed∙ 2018

Cleanse ∙ 14” x 14” framed ∙ 2018 — *Cleanse* ∙ 14” x 14” framed ∙ 2018

Kindling i ∙ 11” x 13” framed ∙ 2018 — *Kindling i* ∙ 11” x 13” framed ∙ 2018

Kindling ii ∙ 11” x 13” framed ∙ 2018 — *Kindling ii* ∙ 11” x 13” framed ∙ 2018

Take a Walk ∙ 22” x 28” framed ∙ 2018 — *Take a Walk* ∙ 22” x 28” framed ∙ 2018

Info

Description: In my mind, the painting is a balancing of the ground and air as well as the synthetic and earth. I actually started the piece painting with one side on the bottom, and halfway through flipped the orientation and finished it that way! I think that's why it feels of both halves and I thoroughly enjoy the idea of having both of my feet firmly planted in the ground, while keeping my head in the clouds and skies. It was the last painting of that series, and the bittersweet color palette I uncovered in this work was the breakthrough I needed at the time. That I could use both natural and synthetic palettes seamlessly and walk the bridge between those two worlds in harmony.

Year: 2018