Vast experimentation with alternative and unconventional mediums helped to achieve the sense of depth in the details of my latest painting, Salt Fingers. Made up of four 14"x14" canvases, this tetraptych features heavy texture, translucent layering, metallics, interference colors, sheen variety, and eroding swaths of color.
I have wanted to explore working with series of square canvases since my last four-panel piece, Field, Wave, Mountain (2010). Comparing the two pieces has been a learning experience for me as well--in 2010 I had just started to experiment with using molding mediums, and it is evident in Salt Fingers that my utilization of texture has evolved. I feel as though my work overall is less rigid than it has been in the past--things have been getting more chaotic, and while I am painting I often feel as though the piece is zooming towards its own completion; I am merely sprinting to keep up with its visual demands.