"We push and pull apart the world, and then layer it with emotions in order to put it back together as something different, beautiful and preferably better.
I primarily choose to create abstract non-objective paintings because I find the creative process honest and satisfying. A single mark or line on a blank surface provides a starting point for an intuitive exploration of the visual language found in abstraction.
Working in mixed media: graphite, oil, acrylic and collage, allows me to layer and rework textured surfaces - with each painting resulting in a delightful discovery of things explored in the heart, perhaps unseen, but now visited for a while.” - Cheryl Johnson
EMOTION Creating art is more about communicating what I’m feeling than what I’m seeing. Feeling is something more; it’s feeling your existence. It’s a still place. It’s like one word, one image - “ joy." It is a “moment’s pleasure.” I want my work to exude joy, celebration, measured clarity and a sense of self. The impetus for my work comes from the outdoors. I love forests and walking by the ocean. I have spent many wonderful days walking my dogs and gathering inspirations that will last a lifetime. I am continually enamored by the Abstract Expressionist painters and I like that association to my work. It’s not that I am painting a ‘landscape, it’s the essence of the forest I want to create. I like creating the illusion of a space one could crawl into. I spend a lot of time finding the right combinations of color and light.
PROCESS My creative process emphasizes surface, light, and dark. I strive for balance and serenity in the arrangement of color and form. My work is driven by the desire to display atmosphere and emotion of a place and time. I explore color relationships in my work and use diverse materials ranging from oil, acrylic, oil crayon, construction materials and fabric applied to canvas, linen, boards, and paper. I paint with brushes, palette knives and my hands and fingers.
STUDIO In the studio, my work practice is energetic and spontaneous. I paint both in my studio and plein air and often use my photography as a reference. I begin with an underpainting and then add marks, lines and multiple layers. I work directly into the surface with confidence and endeavor to be innovative. I represent myself as an alchemist of images and a catalyst for daydreams and desires. In both my art and photography I keep my eye trained on the lines of the face and nature, allowing for the formation of personal marks and lines within the paintings.