LeewayExhibit Text

Leeway, Untitled (#13)

Leeway, Untitled (#7)

Stretched canvas. No exterior frame. Limited number of prints pending.

Leeway, Untitled (small series two) (Sold)

Leeway, Untitled (small series three)

Leeway, Untitled (small series four)

Leeway, Untitled (small series five)

Leeway, Untitled (small series six)

Leeway, Untitled (small series seven)

Leeway, Untitled (#4)

Oil on loose, heavy canvas. Brazil II, Sunrise.

Leeway, Untitled (#8)

Leeway, Untitled (#10)

Leeway, Untitled (#11)

Oil on fine canvas with distressed finish

Leeway, Untitled (#6)

Leeway, Untitled (#12)

Oil on fine loose, canvas, distressed finish.

Leeway, Untitled (#9)

Oil on fine linen canvas, with a distressed finish.

Leeway, Untitled (#5)

Leeway, Untitled (#2)

Leeway, Untitled (#3)

This work started in 2014 and continues through today. 

Breaking from the grid of Tapestry series, these works explore what possibility feels like. Away from an idea, and into the area before the idea has formed. They retain a simple line, consistent with the golden mean, acknowledging we are never free entirely from constraint, and that the constraint itself may be the source of possibility. 

The olive green used in Tapestry is thinned down, sometimes with a medium or after application with alcohol. This has an effect of aged paper or fabric for some works. The scale of each work is a way to account for how big the feeling is. Small and subtle, or large and enveloping. The roughness of the canvas is the tactile sense of the feeling, with some works having no additional primer (most are pre-primed linen). The primer is also used to express movement within a work, with the gestures of my handwork visible where the primer has been applied in a thick layer, and not sanded back.