|Dark Selects Exhibition at Blackston Gallery in L.E.S.|
Below is a small section of her interview that Amy did with Valerie Brennan of Studio Critical (an abstract art blog)...
I always make drawings before I do paintings to get some idea about how I want to execute the paintings. Generally, the paintings stray far from my thumbnail sketches, but it’s really about the attitude of the drawings that I am interested in. I’m nonchalant about it and take many liberties, sometimes cutting into them and reassembling. Often my drawings are made on junky paper that I buy at the drug store. They are pretty quick and matter-of-fact. When I paint, I try to transfer a similar casualness to the paintings yet retain a specific poise.
After I make sketches, I often begin the paintings by “drawing” directly on the canvas with blue tape. Usually, I am working on multiple supports. The tape allows me to get a rough idea how the large forms will look. I always photograph the paintings with my phone before removing the tape so I can refer to the photos while I am making the painting. I then lay down a few layers of a colored ground and sometimes repeat the taping process, making changes. When I begin to use paint on the blank canvas, I have a loose vision about how I want the painting to look, but don’t hold myself to it and it often changes. I let the paint drip where it wants to go, but at the same time I am sensitive to the axis of the painting, its borders and how the forms are interacting. Sometimes the painting is left as is—take it or leave it. But other times, if I can’t articulate a particular awkward and seductive quality that I’m after, I will rework the painting. From time to time, I will mask out peephole-like areas at random that I work with later or I will just paint over the whole thing and start over.
|Note the speckled ochre paint, the drips, and the "dry brush" strokes|
|Note the tapering of the width of the canvas|
|Ms. Behavior Exhibition at Art Bridge Drawing Room|