Sometimes I dream that I see whole bodies of completed work. I see many paintings, hanging somewhere I can't quite place. I stare hard at them, telling myself to remember and absorb as much as possible. When I wake up, some of the images are lingering, and some have vanished. This process of recall enables me to explore them from an expanded state, where perception is more fluid, and can open and shift. When I begin to paint, I start from a non representational place, and bring sensation into form. I see paintings as arenas where light and gesture are gathered and stored. By pouring and layering washes of acrylic paint; shapes, symbols, and content build and repeat themselves over time. They march on like a cast of characters, creating relationships and memories. I work until a presence is felt, where some kind of energy is detected; and may be provoked, enticed, or invited in to be the guest of honor on the canvas.
Simone lives and works in Petaluma, Ca.
As a painter, I am interested in describing how I see, and the feeling nature of my perception of the world. As an abstract artist, I find it fascinating that I can pull apart the constructs of the shared reality, and keep going inward, deconstructing until everything is entirely different. Similar to the way neuro-electrical impulses m
As a painter, I am interested in describing how I see, and the feeling nature of my perception of the world. As an abstract artist, I find it fascinating that I can pull apart the constructs of the shared reality, and keep going inward, deconstructing until everything is entirely different. Similar to the way neuro-electrical impulses move unseen in the world, there are phenomenon that exist beyond the normal organization of perception. The confluence of physics, (gravity), and metaphysics, (felt information), together reveal how numinous substance manifests in these paintings. Sensation is brought into form through decisions that occur both cognitively and from outside the normal realm of the senses. The spatial layout presents a fracture between orientations; neither forward nor back, but perhaps more to the side; more of a peripheral view. Divulging not landscape, not figure, but a space less cohesive, marks are reminiscent of things other than they are.
The paintings become arenas where paint and light are stored. As the poured paint drives across the canvas, the currents imprint some places, and wash others away. Accidental opticals occur, revealing surprises. The ephemeral becomes an informant. Light delivers information, and the luminosity brings attention to other dimensional aspects, making the unseen, seen.