why and how
There are four series of art on this website. The most recent are entitled Disappearing Lines, Syzygy and Long Distance Conversations. The remaining gallery contains the Nature's Passing series.
Using the interplay of line and shape to create space, my work delves into human made structures within the natural world. Viewing from a distant, detached perspective, humans and nature are harmonious, manicured, structured, perfect. Shift focus, move closer and utopia dissolves, humans and nature are at once breathtaking and on the brink of eradicating each other, nature poised to retake what belongs to her, humans powerless to respond. If the environment prevails and reclaims reality, do we impose our will on the world again, recycling the conflict, recreating another striking balance? This push and pull between two potent forces – the sublime power of nature versus the human urge to rein it in – this is the tension that artists, poets and philosophers have long studied and where I find myself in the debate.
The point of this work is the exterior world: the expanse of nature and our place in it. The art is my thesis for space: the imperative of breathing, exhaling, having space, filling it with things or experiences, clearing them out to make room. The gestures of painting and drawing that define the space are triggered by music and reading, processed over and over on a continuous loop in my head. The prompts may come from poetry, music, literature ... soul, the New Yorker, R&B, the BBC.
Rhythms and frequencies are caught on the surfaces in the process of dissolving, veiled or unearthed with occasional breakthroughs of the shapes or marks that they leave behind. The literal and visual combine on one plain, creating new terrain.
Graffitied walls in a bustling city, spacious plains, luminous waterways, sights spied while speeding down a highway, smells of the sea or the ghetto -- these are the fleeting moments that my work captures. Sensed rather than seen, they are flashes from peripheral vision, distant and faded recollections. The paintings document a kind of everyday history, arrested images and feelings stirred and rekindled from the ashes of extinguished moments.
Long Distance Conversations
This body of work continues to explore the tenuous balance between mankind and the natural world. However, this series specifically narrates long distance conversations that I have with my daughter as she travels the world, and journals our experience: hers actual, mine virtual. My child is documenting her journey through photography and by collecting random souvenirs along the way, which she transmits to me for consideration. In this work, I document her travels in a visual journal, incorporating her papers and ephemera.
As I paint, I shift back and forth between intuitive and cognitive states. Intuitively applying paint and drawing elements on surfaces, often rapidly and without analysis, prompts powerful memories and perceptions. It is visceral -- pure sensation, emotion, and memory. Then, shifting into the cognitive, I record and explore as I move between the emerging image and the instinctive application of paint and mark.
from there to here...
Pat has wonderful childhood memories of painting intricate Ukrainian eggs, pysanky, one of her first creative experiences. This distinctly feminist art form was developed thousands of years earlier and has ritualistically been taught to Ukrainian girls and women. Born and raised in New York City, she was encouraged to pursue a practical career as an attorney. She retired from a successful legal career and fully embraced her passion for painting in her new Florida environ. Pat broadened her innate knowledge by studying in residencies, local universities and with select instructors such as Steven Aimone and Harold Garde, both of whom recognized her talent and commitment to creating art.
Over the past several years, her art has regularly appeared in major private and public collections in the United States and abroad.