Much of my art is composite: multiple images. They can take many forms. In the calendar drawings, I worked first with a grid of 3.5" squares. Each day I recorded an event or a feeling or a sample of the work I was doing on a painting. I chose whatever medium appealed to me--watercolor, acrylic, collage, monoprint, colored pencil, caran d'ache, etc. Examples: July and August 1999, January and April 2000.After a while, the grid began to feel constricting, so I moved to the vertical scroll, where the amount of space I used could vary both horizontally and vertically. Images could also begin to overlap. This whole process gave me an opportunity to draw a lot, explore my range, work in many different materials and do a lot of experimentation. It stands as a visual journal of this time period. Examples: August-September 2000, February and September 2001.
Several years after I had ended the scrolls, I found myself embarking on a series of paintings based on different grid structures--such as the hexagon, the eight-pointed star, the ogee [spindle shape], and the pentagon.
I also experimented with the actual stitching together of separate pieces of canvas, as in Dream of the Dance, or a landscape with a path through many scenes, as in Born in a Cave, or with flaps revealing hidden scenes, as in Moving in the Landscapes of my Dreams. The Box of Dreams puts separate small dream paintings into a physical container out of which they can be taken and arranged in various configurations.
In the Composites, relationships through time and proximity can develop.
