Facilitate the viewer's dissociation and draw them into an environment of therapeutic sensations.
I am fascinated with the relationship between emotions and decision-making. The animalistic values of emotion create such a wide array of interpretation that I enjoy creating abstract connections. My end goal is to create a piece which illustrates the mental journey I took while balancing the subjective and objective intentions to the viewer.
Broad brush strokes of base colors are applied in a layering method to create the groundwork for rich color-transfer and specific depth-of-field. By this time my mind has reached a degree of absorption to the point where I can begin "automatically" painting the piece. My conscious self has found a place to curl up and pretty much watch a movie; the application of colors as they melt together and form shapes, the intended image morphing to the considerations of my will, and the emotional sensations passing through me in response to peripheral stimuli.
Medium brush strokes are introduced to rough-in objects which will be a focus of the piece; such as clouds, trees, buildings, bodies, etc. Edge-shading is introduced to ease the color and brush stroke transitions that will occur next. Conservative amounts of water are used to smooth color transitions where needed. The process thus far will be done consecutively and typically in one sitting. In my experience, this process takes between four and six hours with drying time excluded.
Small brush strokes are, admittedly, where I can become exhausted the easiest. It's typically because of repetitious strokes such as grass, hair, or dots. I continue the shading from the previous brush interaction and place highlights to illustrate lighting effects. When placing objects, specially ones I need references for, creating a "wire-frame" using white paint is beneficial. I then repeat the brush steps used thus far until the piece is complete.
Being born and raised in Alaska most definitely has influenced the way I approach artwork. The experiences that largely shaped how I interact with people are rooted in those forest, streams, and lakes. Sometimes I feel like any landscape I create is chasing those young memories. My grandma, Lois Brandt Phillips, is another massive contributor to my creative process. Her use of landscapes to accentuate wildlife is something that I respect and work towards. I often see similarities between our two styles as well, specifically wildlife. I have appreciated Salvador Dali’s work since my early teens when I saw ‘Persistence of Memory.’ His use of color and expansive backdrops drew me in but I think what really attracted my attention was that I perceived similarities between my thoughts and his. Lastly, Georgia O’Keeffe’s use of color and flowing lines has really impacted my work. Even when those lines are sharp, I feel a smoothness to them that I haven’t in another artist’s work.
A majority of my works have been self taught. Drawing classes in junior high school and Studio Art in my Junior and Senior years of high school helped in directing the flow of my creative energies, however was not thought of as a career focus. Time living in Prague, Czech Republic really was the event that brought a renewal to my creative inspirations. Since then I have created the portfolio of work you have access to now and am pursing a Bachelors of Fine Art at the College for Creative Studies in Detroit, MI.