The title of my show comes from a passage in T.S. Eliot's Four Quartets -
.... After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world.
This part of the poem - describing a moment of light phenomenon and culminating in the meditation "At the still point of the turning world" spoke to me in relationship to my work. My paintings are an answer to my own light experience. The noticing and awareness of subtle and not so subtle light shifts in the landscape and built environment and the way natural light manifests in my studio are a primary content of my work - creating light from light. Light also generates from the work as the paintings absorb, reflect and relate to light in the room. A title with a doubling of the word light felt both compelling and visually beautiful.
Over the past decade, I have developed a process of pouring layers of tinted polymer on panel that has expanded the breadth of what I can achieve with color and surface in my abstract works. After pouring the tinted polymer, I manipulate the panel so the paint collects or cracks. The poured polymer mimics nature: a layer of polymer hardens like ice or mud —its thickness and viscosity impacting how the surface dries. The variations on the surface and the quality of the color are the result of a delicate and flexible relationship between control and accident. I assemble the poured panels into specifically calibrated horizontal or vertical sequences, creating a narrative of color, space, and light. The surfaces range from dull to glossy, either absorbing or reflecting the light, existing always in relationship to the light in the room and the position of the viewer.