The fabric swatch paintings should be mounted on wooden panels with cradles. Then expanded texturally through fabric overlay and further collage. I want them to jump off the page but not be completely immersed as in assemblage; but with the air of assemblage in its feeling of ephemeral move-ability. No solid objects. Staying within the realm of paper, fabric and paint. Overlapping of layers, playing with physical and imagined space. I want to continue using sewing as a form of attachment as in the series “Stitched Stagnation” to retain a feeling of ephemeral floating. The moment it becomes too grounded and solid, it loses its energy and sense of urgency.
It floats! It haunts like a ghost. It hides like a shadow but reveals like a reflection. It eats. It’s eaten. Its empty spaces provide physical dips into space in which the initial layer is both pushed back and showcased. The large painting is like an imposing figure with sutured carvings revealing the underbelly and interior carcass of the beast.
If the fabric is left loose, with gallery lighting the top layer will play shadows across the surface beneath. It speaks of the past and yet hides some underneath. It isolates the tension, plays with its anxiety, attempts to quiet its screams. The energy is alive. The swatches of fabric with their streams of yarn play beneath the surface of the masking white. Little bits of paint should scorn the final surface, as if remnants of the underneath peak up onto the top. Tarn should heal the fabric wounds from scissor cuts and float another layer of atmospheric perspective. The yarn should be the final stitch that combines not only the frayed edges of the white fabric, but also bonds the white fabric to the initial surface.