It’s interesting to make abstract work after years of making image-based paintings. Abstraction removes the simulation that exists with an image and therefore changes the immediacy of the experience. To put a mark down at random and realize it can never be random doesn’t happen when working with images. I’ve always made work to exist in a series, and making these drawings has opened a door – they’ve let me get at something more interesting than I can get at myself.
What attracted me to abstraction was how I contextualized it, not with contemporary art but with nudes, florals and landscapes. I imagined an abstract artist in her studio signing her name to a lopsided canvas as she frantically looked for her cat. Making abstract work brought up all my insecurities. Inherent in abstraction is the search for narrative, control versus freedom, what we can trust in what we see. By taking away limitations based on judgment I could see abstraction in a new light and have it cease to be constricted by its past. Curiously, the same thing happened personally. By admitting those insecurities and seeing how full of doubt I was, I began to accept my own history.
Like many of my peers, I’m interested in artists who preceded me and art historical concepts. I work with rigor -- I work only in a square to remove the horizontal landscape or spiritual verticality, and I construct a drawing by repeating the same one mark over and over. My mark resembles an arced piece of code and creates forms that suggest the absent: black holes, vacuums and techno-cellular paths. The ‘image’ becomes holography, an information network devoid of information.
Making these drawings is intimate. Their numbered titles are dates signifying the order in which they were created, and they are also days that make up my life. Matters of the heart, soul and spirit simultaneously exist in their anxious beauty, adding another layer to the backbone of all my work: how we see. We perceive only as we are and it is our individual reality that counts.
Artist Bio / CV
B.F.A., Hartford Art School, West Hartford, CT.
Lives and works in New York City
2004 DCKT Contemporary, NY NY. Two person show
1998 Linda Kirkland Gallery, NY, NY.
1997 REEL TO REAL, Linda Kirkland Gallery, NY, NY.
1996 HOME, Clementine Gallery, NY, NY. Two person show.
2006 MARKS OF DISTINCTION, OHT Gallery, Boston, Mass.
2005 SEID SHOW, NY, NY.
DCKT Contemporary, NY, NY.
THE SEISMOLOGIST, Sara Nightingale Gallery, LI, NY.
Curated by David Hunt.
2003 RANDOM ORDER, White Columns, NY, NY.
Curated by Lauren Ross.
Stephanie Theodore Gallery, LIC, NY.
2000 THE RAPTURE, NY, NY. Curated by Janet Phelps.
1999 THE LIGHT SHOW, The Islip Art Museum. East Islip, NY.
1998 GOTHIC DISTRESS, Trans Hudson. NY, NY.
Curated by Karin Gusti.
1995 EITHER/OR, curated by Kenny Schachter. NY, NY.
LANDSCAPE/NOT LANDSCAPE, Boca Raton, Fla.
Curated by Douglas Maxwell.
1993 TEN NEW ARTISTS, Curated by Walter Robinson. NY, NY.
2006 Cate McQuaid, ‘MARKS OF DISTINCTION,’ The
Boston Globe, Feb. 9.
2005 Helen Harrison, ‘THE SEISMOLOGIST,’ A & E,
The New York Times, Nov. 13.
2004 Cover, The Literary Review. Fall, 2004
Critics Pick, ‘L’ Magazine, August 4-31, ’04 issue.
2003 Ken Johnson, 'RANDOM ORDER,' Art in Review,
The New York Times, June 6th.
Marcel Krenz, 'RANDOM ORDER,' Flash Art Int’l, Iss 231.
2000 Phoebe Kest, ‘MAKE YOUR DREAMS . . .,’
O, Oprah Magazine Premiere Issue.
1999 Annabelle Kerins, ‘ILLUMINATING WORKS...’
Newsday, Jan. 8.
1998 Douglas Maxwell, ‘PAM HARRIS,’ Review, May.
Simon Watson, ‘First Looks’ and ‘Art Picks,’
Simon Says, Volume 2 Issue 10.
1997 Dominique Nahas, ‘REEL TO REAL,’ Review, July.
1996 Jennifer Dalton, ‘HOME,’ Review, November.
2007 Jentel Residency, Banner, WY. Spring/Summer ‘07
1998 Triangle Artist Workshop at The World Trade Center.
Collections include Time Warner, General Dynamics, John W. Henry, The State Department, American embassies in Kabul, Afghanistan, etc.