Page 68 - Vol. VI #7

doRoThea osboRn
“Ioften establish a a a a a a a a a piece with some kind of of representational imagery
or or sketches which can be altered exaggerated and/or simplified in in in a a a a a a a a a a a a a a a painterly language both with a a a a a a a a a a a a a a a conscious and and and intuitive flow of of materials and and via semiotics Some of of the altered relationships are formalist structures The formal formal elements and layers evolve as signifiers in in my work a a a a a a a a a a a a a a a a process that leads to the the blurring of the the rep- resentational resentational and and abstract: abstraction ameliorates the the structured and and representational underpainting to give the the subjects new life The application variety and reworking of of of materials to to create layers layers is is crucial The layers layers of of of mark-making lead to to a a a a a a a a a a a a a a a a kind of of of visible transparency I use both calm and and anxious mark- mark- making that reflect personal and and and global views ones distorted by various experiences and and environments ”
59