I obsess over painting the illusion of wrinkled fabric. My process reflects the intersection of ideas of language, postmodern philosophy, and string theory. Focusing on details such as wrinkles in fabric both feeds and resists chaos. Recording details in a painting becomes a way to understand fabric as a fluid visual structure and conceptual entity that can move in infinite directions.
My current series of Veil Paintings stems from previous investigations that have featured drapery as a primary component. They contain fabric images painted from folded draperies filled with wrinkles, metaphorical “skins.” I use a cotton scarf as a still-life object (on which I crease a grid full of wrinkles) for painting. I launder and re-use the still-life scarf, giving it new folds and wrinkles for the next painting in the series. The final artworks are illusionistic paintings of wrinkled scarves on flat, gessoed scarves.
Veil Paintings reweave Deleuze’s ideas from The Fold. Instead of rigid frameworks of reason and logic, Deleuze’s “folding” permits a different kind of perception and creativity, knowledge stemming from affirmative desire to make. Folds as thoughts move infinitely and in all directions. Deleuze used the term rhizome or rhizomatic to describe ideas with many “non-hierarchical entry and exit points,” allowing re-presentation and re-interpretation. The wrinkled fabric that I paint from provides visual data, and the painting mimetically interprets the data.