Artist Statement

 

I view my studio as a laboratory where I develop innovative processes to explore acrylic paint as a sculptural material. My work pushes the boundaries and possibilities of painting by navigating the realms between the two- and three-dimensional. The sculptural paintings keep intact the vitality that wet paint possesses as raw material. Paint protrudes into space and defies gravity, appearing to ooze or flow as it makes its departure from the two-dimensional picture plane. While my work embodies a sense of the otherworldly, I am interested in how the heightened physicality of the paint may generate corporeal resonance, and elicit desire or longing.

 

My practice is driven by a love for material and process. I'm interested in how art objects relate to the human body and may spark an appreciation of one's own physical existence. I enjoy working at a wide range of scales: the tiny works offer intimacy and can fit in the viewer's hands, while the huge works overwhelm the scale of a human body and fill the viewer's peripheral vision.

 

My process involves pouring thick pools of acrylic paint onto plastic sheeting. Once the pooled paint dries, I peel the skin- or fabric-like material off the plastic, then use it to form three-dimensional objects. Utilizing different sculptural approaches at a wide range of scales, I create paintings executed in space in which the viewer becomes a participant.

 

These explorations of sculptural painting began as wall-based works and have evolved to include large scale installations. The installations strike a dialogue between hyperphysical paint forms and expanses of metal leaf in which I am painting with light and fields of reflected color. There exists a deliberate intersection between the ethereal and fugitive medium of light and the materially tethered nature of paint.

 

My work invites the viewer to share the sense of discovery I experience in the studio. The viewer-participant is rewarded for physically moving around the works: hidden details are revealed upon closer examination, and the compositions of the paintings change when seen from different vantage points.

© 2020 Darcie Book

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