Commodities traded , crops worked through slave labor . Indigo was a slave crop in South Carolina . This is what is interesting to me . Using materials to hold those competing and conHlicting realities and perspectives .
I ’ m not sure if personal experience is indispensable as part of the creative process however , it has been my experience that even with purely formal and seemingly disinterested art , if you did deep enough you Hind that the work can be understood in terms of the personal , cultural and historical context in which it was created . This is what art historians do . I would be curious to see what a creative process that is disconnected from experience looks like .
We would like to pose some questions about the balance established by colors and texture : your pieces combine thoughtful and intense tones and contrasting shapes that accomplish the difficut task of establishing tension and a provocative dynamic . We have really appreciated the vibrancy of thoughtful nuances that saturate your canvas and especially the way they suggest the idea of plasticity . How did you come about settling on your color palette ? And how much does your own psychological make-up determine the nuances of tones and the materials you decide to use in a piece and in particular , how do you develope your textures ? cultivated by slaves in South Carolina . Today indigo is the primary color for the denim of blue jeans . As a medium I think they evoke natural resources .
The textures and color palette in my work are often the result of extensive experiment but sometimes its determined by the materials themselves or lucky accidents . I think it is perceptive and appropriate to use the word nuance . Subtlety and nuance are characteristics that feel right in reference to the textures and palettes in my art . I have experimented with textiles with more color