My practice as a painter and printmaker has led to fluidity across media, borrowing approaches from one to inform a wider array of media. Whether I’m painting, etching printing plates, assembling collages, or designing cut paper installations, I ride the line between recognition and abstraction. I simplify color palettes while complexifying layers and patterns. I rely on a construct-deconstruct-reconstruct process.
I am currently drawn to both urban crowds and coral as entities that are made up of complex interconnections, that are larger than the sum of individuals parts, and that embody generative and fragile life.
I explore crowds as representative of ephemeral moments where individuals converge to form something abstract, yet familiar. I am fascinated observing the way people interact and negotiate between personal and public space, and I construct crowds that embody this tension. I find that our cities are formed, altered, and sustained by rubbed shoulders, blocked views, converging paths, diverging destinations, what is given, and what is taken.
My studies of coral also rely on processes of constructing through layering, complexifying patterns, and contrasting negative and positive space. Here, as in crowds, I am considering alteration and sustainability – in coral, what these mean in the face of climate change.
@amy.oates to follow the process