My non-objective assemblages are constructed of found painted wood and cast-off materials. My subject matter—the sea, fishing vessels, architecture, “natura morta” (still life)—along with inspiration from the early Provincetown Modernists Blanche Lazzell, Kenneth Stubbs and Lillian Orlowsky, place me on the artistic continuum of Provincetown.
I consider abstracted architectural elements—man-made structures, vertical supports and formal divisions of space. I also concern myself with scratched and peeling surfaces, evidence of a previous life as a boat, a floorboard, a container.
My process is walking the beaches and town streets searching for painted pieces of Provincetown, I carry the wood to my studio, pull old nails, sort and stack according to color (I do not paint this wood) and then wait for the wood to tell me what it wants to be. I have learned to listen to my materials and know how far I can push old wood in order to join, sandwich together or curve the pieces.
I make my assemblages in series, which allow me to explore the potential of the old wood I have gathered. For example, in one series I gave myself the parameters of using the same white wooden shapes: a curved piece, pegs, blocks and then I configured them in ten different ways. A series of wall reliefs are about texture, form and the formal composition of geometric elements. In my ‘Still Life’ series, I create not only the elements of the still life—bottle, fruit, window grid, vase, flowers—but also the table itself. In my ‘Blanche Lazzell’ series, I interpreted in three dimensions her two-dimensional layered paintings from the 1920s.